Roger von Gunten

He was the subject of a 1978 essay by Jomí García Ascot and was part of the Breakaway Generation which emerged after World War II ending the Mexican Muralist era.

[8] A palette of in black, blue and crimson tones[10] merged with text in collages aimed to depict the anger of a volcano or disgust with war.

In 1986, Art-Lat began to break its promises and unfulfill the terms signed in the contracts, so von Gunten became dissatisfied with the distribution of his work and refused to deliver any more paintings.

In 1994, 90 artists and intellectuals backed von Gunten's art and arranged an exhibit to display his works hanging alongside their own.

[10] On 10 November 1998 a district judge revoked the federal recognition that had accepted that the 19 paintings, known as Espejo (the Mirror), were satisfactory to settle the judgment.

Von Gunten, who had left Mexico for a year of study in Indonesia when the paintings were accepted, called for another review on 9 April 1999.

[17] In 1999, Santiago Espinosa de los Monteros published Roger Von Gunten: La Inocente Precision del Caos[18] and in 2004 Silvia Cherem included him in her book Trazos y revelaciones: entrevistas a diez artistas mexicanos.