Throughout a revision of the photographic collection of the MAM, four specialized critics of explore Mexico's distinctively rich and diverse photography tradition spanning from the architectural and photographic modernist moment in Mexico in the 1930s and 1940s to the later postmodern tendency (1960-1990) of a documentary vision of the members of the Asociación de Fotógrafos Mexicanos, a photojournalism practice subordinated to the local news. The edition is illustrated with works of reference names that first took up photography in the late 1920's, after Mexico's new socialist government promoted intellectual freedom and a greater role for the arts to photojournalists and photographers documenting anthropological and social environments: Lola Álvarez Bravo (1903-1993) and her husband, Manuel Álvarez Bravo (1902-2002), Henri Cartier-Bresson, Tina Modotti (1896-1942), Edward Weston (1886-1958), Walter Reuter, Eric Renner, Katie Horna (1912-2000), Armando Salas Portugal, Agustín Jiménez, Hugo Brehme, Juan Crisóstomo Méndez, Manuel Carrillo, Graciela Iturbide (1942), Tufic Yazbek, Bernice Kolko, Patricia Ardijis, Mariana Yamplosky (1925-2002) Lola Álvarez Bravo's best known student; and photojournalists Héctor García (1923-2012), Nacho López (1923-1986), Antonio Garduño, Hermanos Mayo (Francisco, Julio, Cándido de Souza; Faustino y Pablo del Castillo), Pedro Meyer, Marco Antonio Cruz, Rodrigo Moya, and others.