The Art Came First, Not the Politics : Mexico: The sweeping, exquisite show opening at the County Museum is battered by unfounded accusations.

There are few nations that can claim the kind of artistic accomplishment and longevity that one associates with Mexico. And not in a generation has an exhibit covering the full breadth of Mexico’s rich artistic heritage been seen in the United States. Thus we should welcome without reservation the magnificent, diverse exhibition, titled “Mexico: Splendors of Thirty Centuries,” that will open at the Los Angeles County Museum of Art next weekend.

Unfortunately, the splendors of the show, which began its tour in New York last year, have too often been pushed aside by critics questioning what they perceive as the “hidden agenda” prompting the exhibition’s existence.

These critics have sought to diminish the achievement of this exhibition by categorizing it as a political tool of the Mexican government. In suggesting that the administration of President Carlos Salinas de Gortari is in some way the true “author” of the show, they have attempted to reduce the exhibition to mere public relations for more favorable trade agreements with the United States.

A public recounting of the origin and development of the exhibition is necessary not only to set the record straight, but to ensure that “Mexico: Splendors of Thirty Centuries” is appreciated for what it is, not denigrated for what some claim it to be.

Early in 1987, long before Salinas was even a candidate for the presidency, Emilio Azcarraga, head of a large Mexican corporation, suggested to the director of the Metropolitan Museum in New York that it mount a major exhibition of Mexican art. Those supporting the proposal believed that the time had come once again to share with Americans the cultural and historical wealth of the Mexican people. The Metropolitan Museum agreed that the time was right for such an exhibition, and planning for a show to open in 1990 began.

By February, 1988, the museum’s staff had outlined the show’s content, and poet and critic Octavio Paz had been selected to write the catalogue essay. Two months later, San Antonio and Los Angeles had also agreed to mount the exhibit. Salinas wasn’t elected president until July, 1988, and didn’t take office until that December.

A month later, with nearly two years of work on the exhibition already done, exhibition organizers met with Salinas to acquaint him with the project and seek his support, which was enthusiastically given. Two months later, the Metropolitan Museum presented the government with a final list of objects needed from public institutions in Mexico.

It is important to note that not every object in the show was lent by the Mexican government. Institutions in Canada, France, the Netherlands, Spain, the United Kingdom, the Soviet Union, the Vatican and the United States generously provided works of art. More than 30 individuals offered items from private collections.

The actual work of mounting the show was done not in Mexico, but in the United States. The information in the exhibit panels, the display of the objects and the content of the catalogue was decided by the host museums’ staffs. The exhibition was coordinated and funded by Friends of the Arts of Mexico--a California-based nonprofit organization whose funds come from Mexican corporations and American friends. The Mexican government was never involved in any of these aspects.

Here in Los Angeles, the Mexican government is participating in the planning of a series of events to be held in conjunction with the exhibition. The government plainly has recognized the interest and respect generated by the exhibition and considers its open involvement in the subsidiary events as an opportunity to engender additional good will.

But that is hardly the same as initiating and guiding the development of the exhibition as a way to achieve political ends. In this exhibition the art came first, not the politics. Its importance lies in its content, not in the chatter that surrounds it.

When the doors to the exhibition open here, visitors will have the chance to contemplate objects that have traveled not only miles but centuries. These works of the creative human spirit rise above the contemporary debate, are independent of the moment. They belong not to the present, but to eternity.