This project was not and is not about forming conclusions regarding how much children today are actually learning about their pre-Hispanic past. The most that we can say, by looking at the chalk indexes, is that they are certainly less exposed to it now than they were in 1959. Rather than measuring their learning itself, my methodology allowed for the display of a paradox in which the Mexican government and its cultural institutions has become entangled. In their efforts to carve a niche in the global scene, they have promoted abroad the very image whose effacement conditions progressive identity, namely: the diversity of pre-Hispanic cultural inheritance.

I am interested in using the gallery space as a place to present archival material (frequently documents whose function resides outside of the artistic realm) and re-contextualize its function. Official Stories took the form of an impossible library, where documents that are commonly used for consultation are presented as inaccessible sculptural objects. The information exposed relies on the covers and what these can convey. This strategy removes these documents from their original logos , their cause, and instead transforms them into discursive objects. This distance allows us to treat them as objects of study, always susceptible to new interpretations, but also revealing their own historicity, and hence their temporal condition and unavoidable decay.