
What May Come (Mexico, 1945)
<p>A signal image in Méndez’s oeuvre, this work is one of only three self-portrait prints made by the artist. Also known as <em>Danger over Mexico</em> and <em>That Which Must Not Come</em>, the print reflects upon the role of the politically engaged artist in Mexico at the end of World War II, a period of great uncertainty. In the print, the figure of Méndez lies across an open sketchbook and contemplates a nightmarish vision in which Mexican national symbols—the eagle, snake, and nopal cactus (references to the legend of the founding of Tenochtitlan, ancient Mexico City)—are grotesquely inverted, and social order is threatened by reactionary forces. The eagle, symbol of the Mexican republic, hangs on a swastika-cross, and behind, a column of fascist soldiers, supported by Catholic clerics, marches on Mexico City. The museum’s Print and Drawing Club commissioned Méndez to make the <a href="https://www.artic.edu/artworks/53216"><em>woodblock</em></a> for this print.</p> <p><strong>Español:</strong><br>Imagen señera de la obra de Méndez, éste es uno de los únicos tres autorretratos en grabado realizados por el artista. También conocido como <em>Amenaza sobre México</em> y <em>Lo que no debe venir</em>, el grabado es una reflexión sobre el papel del artista y su compromiso político con México hacia el final de la Segunda Guerra Mundial, que fue un periodo de gran incertidumbre. En el grabado, la figura de Méndez yace recostada boca abajo sobre un gran libro de bocetos abierto mientras contempla una visión pesadillesca. En ella los símbolos nacionales mexicanos el águila, la serpiente y el nopal (referencias a la leyenda de la fundación de Tenochtitlán) aparecen grotescamente trastocados y el orden social se ve amenazado por fuerzas de la reacción. El águila, símbolo de la República Mexicana, cuelga de una cruz gamada, mientras una fila de soldados fascistas, con apoyo de la curia católica, marcha sobre la Ciudad de México. El Club de Grabados y Dibujos del museo comisionó a Méndez el <a href="https://www.artic.edu/artworks/53216"><em>bloque</em></a> en madera para este grabado.</p>
Catalogue
- Year
- 1945
- Dimensions
- Image/block: 30.3 × 17.6 cm (11 15/16 × 6 15/16 in.); Sheet: 42.1 × 32.6 cm (16 5/8 × 12 7/8 in.)
- Collection
- Art Institute of Chicago
- Artist
- Leopoldo Méndez
Artist

Printmaking
Leopoldo Méndez was a Mexican printmaker whose lithographs and woodcuts became foundational to twentieth-century Latin American social realism. Working from the 1920s onward, he deployed bold graphic forms and stark tonal contrasts to chronicle labor struggles, indigenous life, and anti-imperialist resistance. His prints circulated among working-class and activist networks across Mexico and beyond, establishing printmaking as a vehicle for direct political intervention rather than institutional mediation. The formal clarity of his compositions, combined with their urgent social content, shaped successive generations of socially engaged artists in the Americas.
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More by Leopoldo Méndez
Posada in His Workshop (Homage to Posada)
1953 · Linocut in black on cream wove paper
Firing Squad
1950 · Linocut in black on cream wove paper
Torches, from Río Escondido
1948 · Linocut in black on cream wove paper
Torches from the portfolio Rio Escondido (Hidden River)
1948 · Wood engraving
Little Schoolteacher, How Immense is Thy Will, from Río Escondido
1948 · Linocut in black on cream wove paper
I Thirst, from Río Escondido
1948 · Linocut in black on cream wove paper
Record
Verified by WattsOS- Artist
- Leopoldo Méndez
- Year
- 1945
- Dimensions
- Image/block: 30.3 × 17.6 cm (11 15/16 × 6 15/16 in.); Sheet: 42.1 × 32.6 cm (16 5/8 × 12 7/8 in.)
- Watts ID
- WW-1945-043648
Source
- Collection
- Art Institute of Chicago
- Source
- aic
- Reference
- View at source
- Status
- verified





