Ana’s Reviews > Visual Propaganda, Exhibitions, and the Spanish Civil War > Status Update

'Torres has stated that he largely employed black-and-white photography for this project because "[t]hese pictures can be considered as war photography, taken almost seventy years after the fact." For him, the project, exhibitions, and accompanying book were a way to "win the last battle of that war, the war over memory"'

'Complicating full disclosure is the inaccessibility of some military, church, and private archives, the destruction of prisons, sites of concentration, and work camps, the deaths of witnesses and survivors, and the 1977 Amnesty Law, which freed political prisoners and allowed for the return of exiles but guaranteed impunity for those who worked for the regime.'

'In the interest of mounting a spectacular propaganda exhibition, the organizers of the [nationalist] San Sebastián exhibition disregarded conservation concerns.'

'The contest to claim Goya as a model for the progressive national artist in wartime demonstrates the inability to define the ideal formal strategy to appeal to the masses.'