Most latinamericanists will be interested and some fascinated by the aesthetic import of this epoch-making exhibit, jointly organized and presented by the Yale University Art Gallery and the University of Texas Art Museum. The purpose of this brief statement is to indicate some of its more important repercussions on the social scientist and historian which have potential research value. The first and obvious value lies in the fact that the catalogue presents in one compact volume all of the outstanding stylistic developments in painting, and to a lesser extent in architecture and engraving, from early Independence times to the present day. From a purely documentary point of view, excepting the few authentic, extant architectural remains, painting is the only medium that gives visual expression to the developments in the first half of the 19th century; so that the exhibition provides a basic research tool towards determining what the graphic representation of the socio-political developments of the period were. Even for the later nineteenth and twentieth centuries, this concentrated panorama supplies us with representative perceptions of how Latin Americans conceptualized themselves and their cultural traditions. We base our remarks on the paintings themselves and on an excellent representative catalogue. Catlin, director of the exhibit, with his collaborators (Grieder, Davidson, Deredita, and Faulhaber) will soon begin work on a scholarly volume which will interrelate the aesthetic developments with the social, economic and political developments of Latin American history in a thoroughgoing study.