Chapter 15
Life in New Mexico during the Early Statehood Period
What you will learn in this chapter—
In the last chapter you read about the return of the United States to normalcy after World War I.
For New Mexicans normalcy meant party rivalries and political action. It also meant a time
of growth and prosperity for most of its people. And it meant the birth of New Mexico as a
center for the arts.
In this chapter you will learn about New Mexico’s postwar growth and economic development.
You will learn about the colonies of artists and writers at Santa Fe and Taos. And you will
learn about the new appreciation for Indian and Hispanic arts and crafts. As you read, you
will find information divided into the following sections:
MORE NEW MEXICANS, ROADS, AND TOURISTS
A CHANGING ECONOMY
NEW WRITERS, PAINTERS, AND OTHER ARTISTS
INDIAN AND HISPANIC ARTS AND CRAFTS
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<<<Automobiles fill Central Avenue in Albuquerque. This is the view from Fourth Street, looking east. (Photo c.
1929)
MORE NEW MEXICANS, ROADS, AND TOURISTS
New Mexico’s population grows. Like the rest of the West, New Mexico’s population
grew during the 1900s. In 1910 its population was 327,300. Ten years later it was 360,350.
The population increase during this decade was small, but then these were troubled years.
World War I disrupted the lives of Americans across the country. Near the war’s end
Spanish flu swept the world.
This epidemic killed more than 21 million people worldwide. In the United States 550,000 died
from the flu, The flu reached New Mexico in October 1918. It claimed the lives of about
5,000 New Mexicans. Those hit hardest were between the ages of 20 and 45. Most flu
victims in New Mexico lived in small towns and rural areas. With war and the flu epidemic
over, New Mexico’s population grew at a faster pace. By 1930 the states population was
423,317.
Part of New Mexico’s growth came from people new to the state. Some were seeking a new
life. Others were searching for a more healthful climate. Most newcomers came from other
parts of the United States. Some came from Mexico. Indeed, the number of immigrants
from Mexico had begun to grow even before 1920. The Mexican Revolution in 1910 (page
296) had caused some Mexicans to leave the country. Others left in search of jobs.
United States industry grew during the world war and the 1920s. Along with others Mexican
workers helped meet the demand for unskilled workers. Mexican immigrants, in other
words, were welcomed as a source of cheap labor. Some found jobs as railroad and
construction workers. Many more found jobs as farm laborers. In 1910 Mexican
immigrants in New Mexico numbered 6,649. Their number increased to 20,272 in 1920
and to 59,340 in 1930.
Travel and tourism increase. Besides a changing population, New Mexico underwent
other changes as well. One change was the ever311
<<<New Mexico’s Parks and Monuments
growing number of licensed cars in the state. This greater use of cars, in turn, led to the
building of more roads. And aiding the building of roads was the Federal Highway Act.
Passed by Congress in 1916, this act increased the power of the state’s highway engineer.
It also provided money. The United States government paid half the cost of building roads.
So during the 1920s, New Mexicans got many new miles of road. Between 1920 and 1927
workers completed more than 1,700 miles of improved road. The money spent on road
building was five times greater in 1931 than in 1921.
By 1932 New Mexico had 5,700 miles of improved roads. Improved roads reached places in
New Mexico that had earlier been hard to reach by car. A woman who had ridden in a car
to Roswell in 1908 described her trip in these words:
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Gallup: The Gateway to Points West
In the 1920s Gallup became New Mexico’s gateway to the west. Improved roads and cars were
putting more and more Americans on wheels. This was especially true in the West.
Between 1919 and 1929 western states built more than 1 million miles of highways. They
did so with the help of federal funds.
In- addition, westerners had already fallen in love with their cars. Car ownership by westerners
was twice the national average. Californians alone owned 10 percent of the nation’s total.
And by 1925 more western tourists traveled by car than by train. What put Gallup on every
tourist’s map was Highway 66. It was the country’s main east-west highway. From points
east it ran all the way across New Mexico. It entered the state east of Tucumcari. It left the
state 17 miles west of Gallup. In between it passed through other New Mexico towns and
cities.
But it was Gallup that tourists remembered. Many of them remembered the red sandstone cliffs
just east of Gallup. Rising sharply from the ground, these cliffs had long caught the eye of
train travelers. Indeed, the railroad had used pictures of the red cliffs in their
advertisements.
Most tourists stopped in Gallup for gasoline or a meal. Some spent the night. Those who stayed
longer found an enchanting town. Gallup was not an old town in the 1920s. Its history
dated back only to arrival of the railroad in 1881. The town’s name derived from the
railway paymaster.
Before 1881 sheep and cattle growers lived on the land. Only two buildings stood on the site of
the future town. One was a saloon. The other was the Blue Goose General Store built in
1880. It served passengers traveling by the Westward Overland Stage. After 1881 more P4
buildings and new townspeople appeared. In 1891 Gallup became an official town. Further
growth gave Gallup its special meaning.
By the 1 920s Gallup had become a trade center for the Navajos. Nearby coal mines had
attracted miners from as far away as Europe. And in 1922 the town had hosted its first
Inter-Tribal Indian Ceremonial. Lighting for the nighttime Indian dances had come from a
circle of cars. The 1920s cars had lighted the dances with their carbide headlights.
For the tourists passing through, Gallup was the gateway to Arizona and points west. For the
tourists who stopped over, Gallup had much to offer.
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I (Joyce Hunter) tried holding onto the seat, without the least effect; I still bounced. Next I
grasped the robe rail with both hands in a deathlike grip. No good; my arms were almost
torn from their sockets. . . . Finally I found that the best way to bump was just to bump and
trust to luck that if I became limp enough my neck would not be broken and my arms and
legs would still be of some use if it we ever got across the sands. Those seven miles were
the longest I ever passed over but as with all things they were at last behind us.
Improved roads also changed the face of New Mexico. As new roads appeared, some towns
grew. But towns bypassed by major highways suffered. Some lost population. Others
became less important economic centers. With more roads trucks became major carriers of
goods. Trucks challenged the railroads, and some short-run railroad routes were closed.
More cars and roads attracted tourists to New Mexico. (See Special Interest Feature.) Indeed,
tourism grew steadily during the 1920s. To house tourists along the roads, motels appeared
as a new type of lodging. New Mexico’s first motel was the Apache Inn at Valley Ranch
on the Pecos River.
Tourists came to New Mexico to visit its attractions. One attraction was the ever-growing
number of national and state parks and monuments. Bandelier National Monument was the
first. It opened to the public in 1916. Carlsbad Caverns became a National Monument in
1923 and a National Park in 1930. The map on page 313 shows the location of parks and
monuments in the state today.
Another attraction was special events. One was the Santa Fe Fiesta. Begun in 1919, the fiesta
celebrated the reconquest of New Mexico by Don Diego de Vargas. Another was the InterTribal Indian Ceremonial at Gallup. The first Gallup ceremonial was held in 1922.
SECTION REVIEW
1.
Why did New Mexico’s total population grow so slowly from 1910 to 1920?
2.
Why did the number of Mexican immigrants in New Mexico increase sharply during the
1920s?
3.
What did the woman riding in a car to Roswell in 1908 decide was the best way to handle
the bumps?
4.
How did roads built in the 1920s affect New Mexico’s towns, railroads, and tourism?
31 5
<<<Pumping jacks such as these dot New Mexico’s oil fields.
A CHANGING ECONOMY
Oil and gas production become important. The growth of tourism added dollars to New
Mexico’s economy. So, too, did the petroleum (oil) industry. New Mexicans had known
about oil in their state since the early 1880s. Still, the real development of oil did not begin
until the 1920s.
One oil-producing region was San Juan County on the Navajo reservation. An oil well at the
Hogback field produced oil for the first time in 1922. A well in the Rattlesnake field began
producing oil in 1924. Other regions of the state began producing oil shortly after this. Big
oil fields were discovered near Artesia, Hobbs, and Eunice.
Besides oil, discoveries of natural gas boosted the state’s economy. In 1922 drillers brought in
the first well to produce natural gas for commercial use. It was located in the Ute Dome
field of San Juan County. Companies leased the rights to oil and natural gas from the state.
This meant that oil and gas production added money to the state’s treasury. As time passed,
oil and gas also began to replace coal as a fuel.
Farmers and ranchers face hard times. Farmers and ranchers were not as fortunate as oil
and gas producers. Making up over 40 percent of New Mexico’s population, these people
faced hard times in the 1920s. There was simply less demand for either food crops or
livestock after the war. As a result, farm and ranch income fell. Also, the value of farms
and ranches dropped. Overproduction of farm goods caused prices to drop still lower.
Indeed, the depressed condition of farming was common throughout the United States
during the 1920s.
Still, when the weather was good, New Mexico’s farmers could produce banner crops. In 1926,
for example, the states winter wheat crop totaled 4,876,000 bushels. Yet bad weather could
always add to the
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farmers’ woes. A drought caused the state’s winter wheat crop to drop to a mere 150,000
bushels in 1927.
In general farmers had little hope of improving their lot. Most New Mexico farms were simply
too small to provide steady income year after year. Nearly 30 percent of the farms had
fewer than 50 acres. New Mexico’s ranches were generally too small as well. As a result,
the state’s ranches became larger as the less successful ranchers sold out. Farms, too,
became larger.
SECTION REVIEW
1.
When and where did oil and gas production begin in New Mexico?
2.
Why did farm and ranch income fall in the 1920s?
3.
How did the size of New Mexico’s farms and ranches change?
NEW WRITERS, PAINTERS, AND OTHER ARTISTS
The state undergoes cultural changes. The 1920s, then, were a time of both good and bad
economic fortunes for New Mexicans. They were also a time of varied cultural developments. In
architecture a few new building styles appeared. Still, most building styles were already familiar
to New Mexicans.
The Pueblo style, for example, was popular in the 1920s. A chief architect of this building style
was John Gaw Meem. Opening a firm in 1924, Meem served for many years as the
architect of the University of New Mexico. Today, one can see Meem’s Pueblo style
buildings by visiting the university’s campus in Albuquerque.
In literature Harvey and Erna Fergusson began to make their mark. Brother and sister, their
ancestors had entered New Mexico over the Santa Fe Trail. From his new home in the
East, Harvey Fergusson wrote novels about New Mexico and the West. His Blood of the
Conquerors appeared in 1921. Fergusson then wrote four regional novels, including Wolf
Song. Wolf Song told the story of Hispanic and Anglo-American life in Taos at the time of
Kit Carson.
>>>This milo-maize field near Tucumcari is irrigated by water from Conchas Reservoir on the Canadian River.
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<<< The University of New Mexico Library reflects the use of pueblo-style architecture.
<<<Writer Mary Austin fell in love with New Mexico and its Indian and Hispanic cultures.
Erna Fergusson, unlike her brother, remained in New Mexico. One of her earliest works was
Dancing Gods. It detailed New Mexico and Arizona Indian ceremonials.
Santa Fe attracts writers and painters. A new cultural development for New Mexico was
the presence of writers and artists in Santa Fe and Taos. They came seeking a simpler way
of life. Alice Corbin Henderson arrived in New Mexico in 1916. She was one of the first
writers to settle in Santa Fe. She wrote several books. She also edited The Turquoise Trail
an outstanding collection of southwestern poetry.
Mary Austin, another newcomer, arrived in 1918. She founded the Santa Fe writers’ colony.
Her Land of Journey’s Ending, published in 1924, praised Pueblo Indian culture. It
contrasted this culture with the culture found elsewhere in the United States. To Austin
Pueblo culture was superior.
Joining Henderson and Austin in Santa Fe through the years were other distinguished writers.
One was Willa Cather, who first visited New Mexico in 1916. While staying at Mary
Austin’s Santa Fe home, Cather
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>>>“The Corn Maidens” by Bert G. Phillips
wrote most of her Death Comes for the Archbishop. Published in 1927, this famous novel is
based on the life of Archbishop Lamy (page 219) and the French priests.
Another writer attracted to New Mexico was Witter Bynner. Bynner lived in Santa Fe and
wrote books about Indian life. Still another writer attracted by the Southwest region was
Oliver La Farge. A New Englander, La Farge won a Pulitzer Prize for his Laughing Boy.
This 1929 novel is about Indian life.
Besides writers, painters came to Santa Fe to create their works. An early arrival was Robert
Henri. Henri stayed but a short time. Still, he persuaded John Sloan to come to Santa Fe.
Sloan and Randall Davey and their wives arrived in Santa Fe in 1919. Living in a house on
Garcia Street, Sloan painted pictures of pueblos and Indians. Davey, too, remained to
paint.
Other painters who lived in Santa Fe were Gustave Baumann, Gerald Cassidy, Andrew
Dasburg, and Fremont Ellis. William P. Henderson, Sheldon Parsons, Will Shuster, Carlos
Vierra, and Albert Krehbiel lived in Santa Fe as well. Some of these painters arrived before
World War I. Others came after the war. They stayed in Santa Fe for varying lengths
>>>The Taos Society of Artists, 1932, from left to right: (lower) J. H. Sharp, E.L. Blumenschein; (middle) E.
Martin Hennings, Bert G. Phillips, E. Irving Couse, 0. E. Beminghaus; (upper) Walter Ufer, W. Herbert
Dunton, Victor Higgins, Kenneth Adams
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of time. But the most famous of the painters attracted to New Mexico did not gather in Santa
Fe. Rather, they gathered in Taos.
The Taos Society of Artists is founded. Arriving in Taos in 1898 were Bert G. Phillips
and Ernest L. Blumenschein. Both men had studied painting in Paris. They had then
returned to the United States. Together they traveled to Taos with a wagon and a team of
horses purchased in Denver.
Having been in Taos only a moment, Blumenschein felt the effect of New Mexico’s cultures.
He said to Phillips, “This is what we are looking for. Let’s go no farther.” Blumenschein
and Phillips saw in northern New Mexico “one great naked anatomy of majestic landscape,
once tortured, now calm.”
Blumenschein returned to New York for a time in November 1898. Phillips settled in Taos and
founded the Taos art colony. He encouraged many other artists to move there to paint.
Sending paintings to the East from Taos was not easy. The artists had to travel 35 miles by
road across the Rio Grande Gorge to Tres Piedras. There, they loaded their paintings
aboard the narrow gauge railroad. The narrow gauge carried the paintings to Santa Fe.
From Santa Fe the A.T.&S.F. carried them to Lamy, a stop on its main line.
In 1915 Phillips and Blumenschein were joined by J. H. Sharp, Oscar Berninghaus, E. Irving
Couse, and W. Herbert Dunton in founding the Taos Society of Artists. During the next
few years, Walter Ufer, Victor Higgins, E. Martin Henings, and Kenneth Adams joined the
society. Some of these artists painted New Mexico’s landscape. Others tried to capture on
canvas the Indian and Hispanic cultures.
The Taos Society of Artists at first exhibited the paintings of its members anywhere on request.
They charged only the price of transporting and insuring the paintings. After a dozen years,
though, the society had outlived its usefulness. So in 1927, the members of the society
agreed to end their organization. Each artist was free to arrange for the showing of his own
paintings.
<<<“Turquoise Bead Maker” by E I. Couse
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Also showing her own work was the great twentieth-century painter Georgia O’Keeffe. She
arrived in New Mexico in 1929. With her was Rebecca Strand, wife of photographer Paul
Strand. From her home in Abiquiu, O’Keeffe painted canvases of her new homeland. Her
New Mexico paintings were displayed in New York City by Alfred Stieglitz, a famous
photographer and O’Keeffe’s husband. These paintings established O’Keeffe’s reputation
as one of America’s greatest modern-day painters.
A writers’ colony grows up in Taos. Alongside the art colony in Taos grew up a colony
of writers. It got its start later than did the art colony. Still, the colony of writers grew
quickly once underway. Its founder was Mabel Dodge Luhan, a wealthy New Yorker.
Arriving in New Mexico in 1917, Mabel Dodge was married for a time to Maurice Sterne,
a painter. She later married Tony Luhan, a Taos Indian.
To her roomy adobe house in Taos Mabel Dodge Luhan invited writers from all over. John
Collier, a young New York poet, came. He helped lead the fight against the Bursum Bill
(page 307). D. H. Lawrence also came. A famous English writer, Lawrence spent the fall
and winter of 1922-23 in New Mexico. He then returned to New Mexico in the spring of
1924 for a brief stay. His home in New Mexico was a gift from Mabel Dodge Luhan. It
was a ranch located in the mountains about 20 miles north of Taos.
Lawrence’s presence in Taos attracted other writers and artists to the area. The Luhan home in
Taos opened its doors to many well-known artistic figures. Writers and artists alike felt a
kinship with New Mexico’s Indians. Together the writers and artists made Taos and Santa
Fe famous. They established New Mexico as a major American center for the arts. By
doing this, they changed New Mexico.
At the same time, the writers and artists were changed by New Mexico. Writing about his New
Mexico experience, D. H. Lawrence said:
I think New Mexico was the greatest experience from the outside world that I have ever had. It
certainly changed me over. . . . In the magnificent fierce morning of New Mexico one
sprang awake, a new part of the soul woke up suddenly, and the old world gave way to a
new.
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<<< Maria and Julian Martinez became famous for their black pottery. The gray pots, not yet finished, await their
final coat of finishing clay.
SECTION REVIEW
1.
What style of architecture did John Gaw Meem make popular?
2.
Who founded the Santa Fe writers’ colony?
3.
What were the main subjects painted by the Taos Society of Artists?
4.
What famous painter settled at Abiquiu?
5.
Who founded the writers’ colony at Taos?
6.
How does D. H. Lawrence describe New Mexico’s morning and its effect on him?
INDIAN AND HISPANIC ARTS AND CRAFTS
Indian arts and crafts gain new appreciation. New Mexico’s growth as a center for the
arts was not limited to newcomers. It also included New Mexico’s Indian artists. These native
artists now reached larger audiences. They gained new respect. Along with other artists they
could display their works in the Art Museum in Santa Fe. The museum opened in 1917.
Encouraging Indian artists as well was the Indian Tribal Arts Association. This group
encouraged Indian craftspeople to produce high quality work. It informed the public about the
quality of Indian crafts. Some Indian artists even showed their paintings in New York City and
London during the 1920s. Pueblo Indian painters of note were Awa Tsireh, Cresencio Martinez,
Velino Shije, Ma-Pe-We, Tonita Peña, and Alfonso Roybal. Fred Kabotie, a Hopi painter, made
his mark in the art world as well.
Other Indian artists also gained appreciation during the 1920s. Indeed, the 1920s witnessed the
revival of superb pottery making. Pueblo Indians in particular made fine pottery. The most
famous potter was Maria Martinez of San Ildefonso.
Maria rediscovered a forgotten, thousand-year-old pottery-making technique. She shaped and
fired the pots. Her husband, Julian Martinez, and other San Ildefonso men painted the
designs on her pots. In time,
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Maria’s black-on-black pottery sold in elegant shops along Fifth Avenue in New York City.
The 1920s also witnessed better-quality Navajo rugs. After 1890 Navajo weavers had focused
on rugs rather than blankets (page 283). The quality of weaving had declined as a result.
Native designs had nearly disappeared. Low-quality Navajo weaving lasted until 1920.
Then, Navajo weaving began to improve. This was mainly because of encouragement from
traders and collectors. After 1920 native designs began to reappear on rugs. So, too,
Navajo weavers again began to use dyes made from native plants, fruits, and berries.
The 1920s were a time as well of fine jewelry making. Navajo and Pueblo Indian silversmiths
continued their high-quality work. The Mexican peso was the Indian silversmiths’ main
source of silver until 1930. Then, its export was stopped.
Hispanic arts and crafts gain new respect. Another group - Hispanic craftspeople - also
gained new appreciation at this time. Hispanic folk art had flourished as long as New
Mexico was isolated. Once outside arts and crafts reached New Mexico, local folk art was
in less demand. Lithographs from Europe found a market in New Mexico after 1850. So
did Currier and Ives prints from the United States. So, too, did manufactured crafts brought
in by train in the late 1800s.
As a result, local folk art was in danger of disappearing. Determined to keep this from
happening, some New Mexicans acted. During the early 1920s artist Frank Applegate and
writer Mary Austin organized the Spanish-Colonial Art Society. This society became
active in preserving older objects. The New Mexico State Department of Vocational
Education actively promoted a revival of local folk art.
Through these efforts the carvings and paintings of santeros gained new respect. Whole
families revived the almost lost art of woodcarving. One such family was the Jose Dolores
Lopez family of Cordova, a small village between Chimayo and Truchas. And at Chimayo
weavers learned to turn out lovely Rio Grande blankets on the looms of their ancestors.
Weaving and embroidery are revived. Weaving as a highly developed Hispanic art form
dated back to the early 1800s. At that time master weavers from Mexico had arrived to
teach their skill to New Mexicans. Two of these Mexican weavers were Ricardo and Juan
Bazan. The Bazan brothers turned Chimayo into the center of the weaving industry.
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Using homespun wool and vegetable dyes, New Mexico weavers made their finest blankets
about 1850. The patterns of the blankets varied. A popular design was the zig-zag pattern.
It was likely borrowed from Indian designs.
After New Mexico became a territory of the United States, the weaving craft declined. The
only demand for Chimayó blankets was the tourist trade. By the 1880s these blankets were
made with machine-spun wool and commercial dyes. Weaving skills had all but
disappeared. Arid because so little was known about earlier weaving practices, the revival
of weaving was slow.
Hispanic weavers revived the use of vegetable dyes after World War I. Still, the new blankets
were less colorful and durable than the older blankets. Weaving again became an art, but
only in the 1920s. Then, the demand for quality Chimayo blankets was great. Village
weavers again produced handspun, vegetable-dyed blankets equal to those of 1850.
Another craft revived during the 1920s was the wool embroideries of Hispanic women. This art
had always been a part of a wealthy Hispanic woman’s education. Now, it became valued
as an art worthy of preservation. Fashioned with long stitches, the embroideries featured
plant and animal forms. The most popular embroideries were colchas (bedspreads) and
sabanillas (altar cloths).
Other folk art survives. Tincrafting had survived the arrival of arts and crafts from outside
New Mexico. Indeed, prints from Europe and the United States after 1850 had been framed
by New Mexico tinsmiths. They made the frames in the form of birds, stars, and leaves. To
decorate the frames, they twisted thinly cut tin strips into spiral ropes.
Through the years Hispanic tinsmiths made many items. These items were both practical and
decorative. Tinsmiths made lanterns, candle holders, and candelabra. They designed flower
pots, crosses, pitchers, and mirror frames. Some of their most finely crafted items were tin
boxes. The boxes’ glass sides bore designs created by swirling wet paint into waves.
The revival of Hispanic arts and crafts led to the revival of still other local art forms. One of
these art forms was folk drama. In the 1920s one popular Hispanic play was staged for the
first time in 25 years.
Hispanic folk music as an art form had developed from the music of the early 1800s. One type
of music common to all communities was
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the cancione spopulares. These were the “popular songs.” The rhythm and lyrics of the popular
songs made them singable. In the 1930s teachers at the University of New Mexico began
to study Hispanic folk songs.
The early statehood period was clearly a time of many changes. New Mexicans found
themselves drawn into national and international events. They saw their state grow in
population. They helped expand its economy. And they watched their state gain
recognition as one of this nation’s major centers for the arts.
SECTION REVIEW
1.
What Indian arts and crafts gained new appreciation during the 1920s?
2.
What Hispanic arts and crafts were revived during the 1920s?
325
CHAPTER REVIEW
Places You Should Be Able to Locate
Be able to locate these places on the maps in your book.
1. Gallup
2. Hobbs
3. Santa Fe
4. Taos
5. Chimayó
Facts You Should Remember
Answer the following questions by recalling information presented in this chapter.
1.
Why did people move to New Mexico after World War I?
2.
What economic changes took place in New Mexico during the early statehood period?
3.
Briefly describe how Santa Fe and Taos became centers for the arts during this same
period.
4.
How did Indian and Hispanic artists contribute to the development of New Mexico as a
center for the arts?
5.
Who are the following people, and why are they important?
a.
Alice Corbin Henderson and Mary Austin
b.
Bert G. Phillips and Ernest L. Blumenschein
c.
Georgia O’Keeffe
d.
Mabel Dodge Luhan
e.
Maria Martinez
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Things You Can Make or Do
Listed below are things you can make or do. Some items you can do on your own. Other
items you can do as a member of a group.
1.
Imagine that you are traveling on Highway 66 through New Mexico. The highway runs
east and west and links Tucumcari and Gallup. On an outline map of New Mexico, mark
the route the highway follows. Locate the towns and cities along the route. Describe any
special points of interest.
2.
On a poster-size map of New Mexico locate 10 attractions that tourists might have visited
in the l920s. Illustrate these tourist attractions with drawings or with pictures cut from
magazines.
3.
Find out more about the hard times faced by farmers during the 1920s. Compare their
problems then to the problems of family farmers today. Report your findings to the class.
4.
Select one painter or writer who came to New Mexico during its early years as a state.
Learn more about this painter or writer. Find an example of something he or she has
written or painted. Share what you have learned with your classmates.
5.
Find an example of a New Mexico Indian painting or craft from the 1920s. Or find an
example of the Hispanic arts and crafts that enjoyed a revival in the 1920s. Share your
findings with your classmates.
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