in which the art was produced. In the book, Mestizaje and Globalization : Transformations of Identity and Power, Stefanie Wickstrom argues against the use of the term "indochristian". Wickstrom claims that the term oversimplifies colonial monastic art and the intentions of the artists by categorizing each element as either Indian or Christian in symbolism, failing to account for the evolution of a mestizo art form as Christian symbolism made contact with new cultures and evolved. Others have objected to Reyes-Valerio's discussion of colonization; in discussing the colonization of New Spain, Reyes-Valerio makes the controversial claim that the spiritual conquest of Europeans over indigenous people was more damaging than the armed conquest. Further, in his descriptions of the interactions between monks and indigenous people, Reyes-Valerio focuses primarily on the psychological harm done to the indigenous people as they lost their ancestral religious beliefs. Related discussion of Indigenous artistic influence Throughout the twentieth century, there were a number of movements to re-evaluate the role of indigenous peoples in creation of Latin American national identities. In Mexico following the revolution, the Indigenismo movement placed increased value on indigenous culture and historical significance. This shift was reflected in a shift in art historian’s attitudes towards indigenous art and aesthetics. These influences on colonial art had largely been overlooked up until this point. Recognition of indigenous artistic influences varied widely, with art historians only gradually recognizing the existence of an indigenous influence on Mexican colonial art. In 1939, Agustin Velazquez Chavez described the art of New Spain as the product of a mixing of Indian and Spanish cultures in conflict, placing special significance on the “Mexican” nature of this entwining of cultures. In describing the Churrigueresque art of Mexico, Miguel Toussaint used the term “mestizo,” recognizing the participation of Indigenous people in the art of colonial Mexico. The term “Tequitqui” was created by Jose Moreno Villa to categorize artistic works with a fusion of Spanish and Indigenous elements. With this term, which in Nahuatl means “tributary,” Moreno Villa drew a comparison between the art of colonial Mexico and the Mudéjar art of Muslims in Spain during the Reconquista. Tequitqui was the first term used specifically to identify art combining colonial and indigenous influences, however, Moreno Villa limited its application to works in which the indigenous artist represents atavistic religious symbols. In later works Moreno Villa elaborates on his interpretation of Mexican colonial art, stating that