Question

indigenous peoples, including the maya. in his 1950 masterpiece history of mexico, medellín fuses these influences into a style so idiosyncratic that it resists efforts to view his work through the lens of nationality or cultural identity. artists, he insisted, should strive for individual expression, even as they draw inspiration from their heritage and the communities where they live and work. which quotation from an art critic most directly challenges the underlined claim in the text? 〇 \while a history of mexico features modernist motifs, it relies primarily on angular human forms in profile—a staple of maya sculpture—and thus invites classification as indigenous art.\ 〇 b \although a number of ancient indigenous artistic traditions pictured human forms in profile, the forms populating the surface of a history of mexico suggest a specifically maya influence.\ 〇 \in a history of mexico, the synthesis of ancient and modernist traditions functions as a stylistic parallel to the work’s subject matter: a survey of centuries of mexican history.\ 〇 \many critics focus on indigenous influences in a history of mexico and other key works by medellín to the exclusion of influences from non - indigenous art.\

Explanation:

The underlined claim is that Medellín's work resists being viewed through nationality or cultural identity. Option A claims the work can be classified as Indigenous art, directly challenging the idea that it resists such classification. Option B supports Maya influence, C talks about stylistic parallel to subject matter, D about critics' focus, none challenge the resistance to cultural/national classification like A.

Answer:

A. "While A History of Mexico features modernist motifs, it relies primarily on angular human forms in profile—a staple of Maya sculpture—and thus invites classification as Indigenous art."