Epic, national narration, and counternarrative
Mexico, U.S. antiempire, and the borders of identity
Melancholy, race, and performance
Idea, intention, and the melancholy art
Summary of mural, chapters, and argument
Orozco's melancholy dialectics
The Rivera-Siqueiros debate over the mural form
Rivera's material dialectics: history as discourse
Siqueiros's cinematographic mural art: the visual politics of affect
History as ruin: Orozco's poetic image
The Benjamin interlude: allegory, melancholy, and the dialectics of history
Orozco as critical philosopher: form and politics
The epic as dialectical image
Colonial melancholy and the myth of Quetzalcoatl
Quetzalcoatl: the myth, the man, the prophecy
The postrevolutionary Quetzalcoatl: Messianic politics and indigenism
Orozco's Quetzalcoatl
Rivera's Quetzalcoatl
Reframing Quetzalcoatl: allegory and the irony of empire
Time, history, and prophecy: Quetzalcoatl and weak Messianism
American modernity and the play of mourning
Cort's and the spanish conquest
Rivera's cort's
Orozco's cort's
The conquest, the two Americas, and the thanatopolitics of race
The machine and the two Americas: Orozco's version
Rivera's vision of industry and Pan-American cooperation
Death, sacrifice, and the melancholy of the American dream
Cort's, Christ, and weak messianism
Rivera's national palace: technology, progress, and Messianic redemption
Orozco and the phantasmagoria of sovereignty
'Modern industrial man' and the melancholy of race in America
The supplement
Neither dartmouth man nor Emiliano Zapata
The worker who reads
Between mestizaje and minstrelsy
Vestigial blackface, artistic freedom, and the poetics of plasmatics
Disidentification and the melancholy of race in America
'Greening the epic: the 'hovey mural'
The 'evil grandchildren of Orozco': Orozco Mexotica.