When taking photographs, Rodrigo Moya used two cameras. He used one for the commissions he received from illustrated magazines, which were his point of entry into the photography trade in 1955 and which published his work until 1968. The second camera he used to document things that were closer to his own sensibility and concerns-the city and the individual, the disenfranchised and social struggles. Moya describes himself as a humanist photographer and his vision focuses on the periphery of a city and country inhabited by both smallholder farmers and laborers. He depicts a city troubled by protests and strikes and sketches the geometry of its buildings, streets and arteries, invariably refusing to show only the implicit benefits of the nation's modernization. This is the universe depicted in Rodrigo Moya MÉXICO, an exhibition organized by the Museo Amparo in Puebla in collaboration with the Centro de la Imagen and the Museo del Palacio de Bellas Artes. This exhibition plainly renders the critical vision of a photographer who was a witness to the complex realities that evolved over the 1950s and 60s.