Xavier Villaurrutia National Homage.

When Mexican art is the subject, discussion is largely limited to the works from the 20th century. In this regard, the Museo de Arte Moderno has put up a show that certainly should have both dilettantes and discerning critics talking. Bringing together the immortal muralists, mellow sculptors and surrealist outcasts, the National Homage avoids the trap of focusing on the Big Three of Mexican fine art--Diego Rivera, Jose David Alfaro Siqueiros and Jose Clemente Orozco. These giants are heavily represented, and the range of the exhibit is so staggering and well assembled that visitors may find themselves forgetting that they are steps away from Paseo de la Reforma.

The quality of the show--particularly in regard to the sculptures of Francisco Zuniga and the fantastic canvases of Rivera--would rival that of special exhibits on the subject in London or New York, and the capital's residents should consider themselves lucky that the show runs through January.

As noted by the curator, Mexican 20th century art is "much more complex, pluralistic and prolific" than the works of the three great muralists, and this show illuminates that point vividly.

A fine Zuniga sculpture of two standing bronze figures ("Las dos esperanzas") greets visitors upon the entrance to the exhibit that weaves through six rooms and meticulously is broken down by school and by artist. Zuniga pieces are sprinkled beautifully throughout the interior of the show, and "La Hamaca" certainly must qualify as the world's most valuable sculpture carved out of Xaltocan rock. A woman reclines in a hammock in this piece, and although the subject is one of repose, it has a charged current running through it, a characteristic of this electric exhibit.

Along with the vibrancy of Mexican 20th century art, social and political issues are continually addressed. The great muralists made a living out of Revolutionary topics, and the tough plight of the worker or campesino is captured in the Siqueiros' 1924 work "Madre campesina," which shows a mother trudging her way through a frightening red cactus desertscape with an infant in her arms. Orozco's 1926 work, "Las soldaderas," captures that bellicose time in the nation's history.

Among this social art stands one of the exhibit's finest pieces--Rivera's "Paisaje Nocturno" which is placed regrettably amid some mediocre works by Frida Kahlo. But the power of Rivera's night piece is more than enough to wipe out Kahlo's tedious display of her subject's internal organs.

Rivera's oil-on-canvas 1944 piece conceptually captures the marginalized existence of Mexico's indigenous population, as wrapped-up creatures huddle along tree branches just above a tied-up mule. Formally, the piece has an exceptional illumination effect, as Rivera shines a blast of yellow into the deep green jungle. Strolling through the exhibit, pleased by Rivera's utter mastery of his craft, visitors will undoubtedly pause at Leonora Carrington's "4706th floor." If anyone figures it out, please write us as all I understood from the surrealist canvas was that unicorns can walk on their hind legs.