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16. See Gronbeck-Tedesco, Cuba, the United States.

17. Carr, Barry, “‘Across Seas and Borders’: Charting the Webs of Radical Internationalism in the Circum-Caribbean,” in Exile and the Politics of Exclusion in the Americas, Roniger, Luis, Green, James N., and Yankelevich, Pablo, eds. (Portland, OR: Sussex, 2012), 217–240Google Scholar; Carr, “Pioneering Transnational Solidarity,” 144–145.

18. Clara Porset to Sarah Méndez Capote, November 23, 1932, Biblioteca Nacional de Cuba José Martí, CM Méndez.

19. Quiza Moreno, New Knowledge for New Times, 274.

20. Ellen Starr Brinton to Esther Crooks, August 15, 1933, Swarthmore Peace Archives [hereafter SPA], DG: 043 WILPF, Box 17, Committee on the Americas: Correspondence of Brainerd with persons re: foreign affairs: C–G, 1934–1937.

21. Ellen Starr Brinton to Katherine Terrell, February 28, 1935, and Katherine Terrell to Ellen Starr Brinton, March 13, 1935, SPA, DG: 051, Ellen Starr Brinton Papers, box 1, Cuba: Correspondence with H. Portell Vila, 1935, and others, 1933; Herminio Portell Vilá to Ellen Starr Brinton, September 30, 1936, SPA, DG: 051 ,WILPF, box 1, Cuba: Correspondence with H. Portell Vilá, 1936–1937.

22. Starr Brinton to Terrell, February 28, 1935, SPA, DG: 051, Ellen Starr Brinton Papers, box 1, Cuba: Correspondence with H. Portell Vila, 1935, and others, 1933.

23. As Michael Goebel has further noted, anticolonialism and internationalism were central elements of the Communist movement of the 1920s, promoted by the Comintern through an idiom Goebel describes as “transnational solidarity.” Goebel, “Geopolitics, Transnational Solidarity or Diaspora Nationalism? The Global Career of M. N. Roy, 1915–1930,” European Review of History 21:4 (September-October 2014): 485.

24. Goebel, Anti-Imperial Metropolis, 13.

25. This tolerance, if not closeness, to the left marked a significant shift from the repression of (particularly) the Communist left by the Mexican state during the preceding Maximato (1930-34). Carr, Barry, Marxism and Communism in Twentieth-Century Mexico (Lincoln: University of Nebraska Press, 1992), 47–48Google Scholar; Gilly, Adolfo, El cardenismo, una utopía mexicana (Mexico City: Ediciones Era, 2001), 322–323Google Scholar.

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29. Clara Porset to Muriel Rukeyser, October 25, 1939, New York Public Library, Berg Collection of English and American Literature, Astor, Lenox, and Tilden Foundations, Muriel Rukeyser Papers 1920–1976, manuscript box.

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36. Porset to Frank, May 10, 1937, and Porset to Frank, July 28, 1937, University of Pennsylvania, Kislak Center, Waldo Frank Papers, Box 22, Folder 1262.

37. During the LEAR's January 1938 conference, for example, architects Álvaro Aburto, Ricardo Rivas, Luis Cuevas Barrena and Raúl Cacho supported a functionalist embrace of new technologies and materials in architecture, particularly in a country with such pressing social needs as Mexico. There was no room to get carried away with “sentimentalist” concerns with aesthetics to the detriment of technical considerations, nor to waste public money on superfluous decoration. Salguero, Ramón Vargas, “Las reivindicaciones históricas en el funcionalismo socialista,” in Apuntes para la historia y crítica de la arquitectura mexicana del siglo XX: 1900–1980, Escudero, Alexandrina, ed., Vol. 1 (Mexico City: Secretaría de Educación Pública, 1982), 108Google Scholar.

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44. Porset to Frank, February 16, 1939, University of Pennsylvania, Kislak Center, Waldo Frank Papers, box 22, folder 1262.

45. Rick López, Crafting Mexico, 121.

46. Carr, Barry, “The Fate of the Vanguard under a Revolutionary State: Marxism's Contribution to the Construction of the Great Arch,” in Everyday Forms of State Formation: Revolution and the Negotiation of Rule in Modern Mexico, Joseph, Gilbert M. and Nugent, Daniel, eds. (Durham: Duke University Press, 1994), 333–338Google Scholar.

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59. Clara Porset, “El Centro Urbano ‘Presidente Alemán’,” 120.

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67. Porset's scrapbooks feature a selection of Mexican adaptations of these principles, such as an undated newspaper article outlining O'Gorman's rejection of functionalism in favor of “realism” in architecture. Guerrero was further a collaborator in the publication Arte Público, published by the Frente Nacional de Artes Públicas, which dedicated its first issue in October 1952 to the construction of the new Ciudad Universitaria. The publication denounced “formalism” in the work of artists including Carlos Mérida and Rufino Tamayo, and established as the second of its three goals, published on the front page, “to encourage the progression of this MEXICAN MOVEMENT OF SOCIAL ART, a movement national and popular in essence [and] of a realist intention in form, that today is the target of a reactionary political-aesthetic offensive, to a more advanced stage of the corresponding historical age, that is, to the stage of SOCIALIST REALISM in Mexico.” Arte Público 1:1 (November 15, 1952): 1; Castillo, Greg, Cold War on the Home Front: The Soft Power of Midcentury Design (Minneapolis: University of Minnesota Press, 2010), 49.Google Scholar

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69. Porset's experiences on this trip are described in an exchange of letters with Guerrero, which is held at the Porset archive. Clara Porset to Xavier Guerrero, June to August 1955, UNAM, Facultad de Arquitectura, Centro de Investigaciónes de Diseño Industrial, Archivo Clara Porset.

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73. This “University City” provided the most spectacular collective display of postrevolutionary Mexican plastic integration, featuring buildings by architects such as Pani and O'Gorman and incorporating exterior murals and sculptures by many of Mexico's most important artists, such as Rivera, Siqueiros and O'Gorman. de Anda Alanís, Enrique X., Hazaña y memoria: la Ciudad Universitaria del Pedregal (Mexico City: UNAM, 2013)Google Scholar; Celia Ester Arredondo Zambrano, “Modernity in Mexico: The Case of the Ciudad Universitaria,” in Modernity and the Architecture of Mexico, Burian, ed., 91–106.

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79. A pioneer of the postrevolutionary aesthetic reorientation of Mexican culture, Dr Atl (Gerardo Murillo), indeed decried contemporary efforts to evolve popular arts into modern forms in the 1921exhibition's expanded catalogue. López, Crafting Mexico, 92.

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82. Ana Elena Mallet, “Las alcances del diseño. La divulgación del trabajo de Clara Porset,” in Inventando un museo moderno, Museo Franz Meyer, ed., 63–65; Ana Elena Mallet, “Pioneros del gusto,” in Vida y diseño en México, siglo XX, Comisarenco Mirkin et al., 362.

83. Eric Zolov, “Discovering a Land ‘Mysterious and Obvious’: The Renarrativizing of Postrevolutionary Mexico,” in Fragments of a Golden Age, Joseph et al., eds., 234–235.

84. Mary Roche, “Furniture Depicts Different Mexico,” New York Times, February, 4, 1947, 29.

85. Mary Roche, “Furniture Depicts Different Mexico,” 29.

86. Mary Roche, “Furniture Depicts Different Mexico,” 29.

87. During the early 1950s, California-based architectural critic Esther McCoy did attempt without success to distribute Porset's furniture in California. “Mexicana Overlooked by the Tourists,” Interiors 106:4 (November 1946): 90–93; Roche, “Furniture Depicts Different Mexico,” 29; Porset and McCoy, “Chairs by Clara Porset,” 34–35; Esther McCoy, “You'll Sit Low in Mexico!” Los Angeles Times Home Magazine, October 19, 1952, 10; Clara Porset, “Art in Industry,” Los Angeles Times Home Magazine, October 19, 1952, 15; Esther McCoy, “Clara Porset's Proving Ground,” Los Angeles Times Home Magazine, January 24, 1954, 19; “Office Interiors by Clara Porset,” Arts & Architecture 71:5 (May 1954): 25.

88. Mallet, “Los alcances del diseño,” 83–84; Agnoldomenico Pico, ed., Undicesima Triennale: Milano 1957 (Milan: Stampa, 1957), 238.

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98. Ballent, “La publicidad de los ámbitos de la vida privada,” 58.

99. For example, in the early 1960s, the Mexican government's Endowment for the Development of Arts and Crafts did encourage the participation of artisans from towns such as Olinalá, Guerrero, and Uruapán, Michoacán, in the Feria del Hogar, where they could make contact with urban wholesalers, consumers, collectors, and exporters. López, Crafting Mexico, 186–187; Piétri-Lévy, Anne-Lise, L'Objet dénaturé. Art populaire, fonction sociale et orientation comerciale (Toulouse: Presses Universitaires du Mirail, 1991), 193Google Scholar.

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109. De Anda Alanís, Vivienda colectiva, 291.

110. Porset, “Diseño viviente.”

111. Porset, “Diseño viviente.”

112. Pérez-Méndez and Aptilon, Las casas del Pedregal, 1947–1968, 12–13.

113. Eggener, Luis Barragán's Gardens of El Pedregal, 19; Pérez-Méndez and Aptilon, 13; Treib, Marc, “A Setting for Solitude: The Landscape of Luis Barragán,” in Luis Barragán: The Quiet Revolution, Zanco, Federica, ed. (Milan: Skira, 2001), 125.Google Scholar

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115. Pérez-Méndez and Aptilon, Las casas del Pedregal, 1947–1968, 14–15.

116. Pérez-Méndez and Aptilon, Las casas del Pedregal, 1947–1968, 14–15.

117. Canclini, Nestor García, “El consumo cultural y su estudio en México: una propuesta teoórica,” in El consumo cultural en México, Canclini, García, ed., (Mexico City: Conaculta, 1993), 35–36Google Scholar.

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121. Eggener, Luis Barragán's Gardens of El Pedregal, 58.

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131. Clara Porset to Anna Seghers, April, 2, 1956, UNAM, Facultad de Arquitectura, Centro de Investigaciónes de Diseño Industrial, Archivo Clara Porset.

132. Clara Porset to Anna Seghers, Undated (ca. 1956), UNAM, Facultad de Arquitectura, Centro de Investigaciónes de Diseño Industrial, Archivo Clara Porset.

133. Her first major task in 1960 was designing furniture for the Ciudad Escolar Camilo Cienfuegos, built for 5,000 students in the Sierra Maestra. Salinas Flores, “Xavier Guerrero,” 163.

134. Clara Porset to Martha Dodd, May, 27, 1966, US Library of Congress, Martha Dodd Papers, 1898–1990, Correspondence, circa 1928–1990, box 8.

135. Clara Porset to Martha Dodd, May, 27, 1966.