Graphic art has long been considered a side note in official art history, a technique considered inferior, anti-technological, almost anachronistic. The result of in-depth research, the exhibition From Posada to Isotype, from Kollwitz to Catlett: Exchanges of Political Print Culture. Germany - Mexico, 1900–1968, curated by Benjamin H. D. Buchloh and Michelle N. Harewood, reveals the way in which a popular and accessible language was a powerful political tool for a broad range of international art movements. Framed within this exhibition, the present publication is articulated around three settings enriched with new essays and historical texts from a diverse group of authors who explore the events, tensions and projects that took place and shaped the trajectories of their protagonists.
