the Pacific mural is on display at the de Young museum in San Francisco. "The colorful map depicts the four Pacific Rim continents with examples of their flora and fauna suspended in a swirling Pacific Ocean populated with sea creatures." Personal life Miguel and Rosa married in 1930 and they took an extended honeymoon to Bali with the National Art Directors' Medal prize money where they immersed themselves in the local culture, language and customs. Miguel returned to Southeast Asia (Java, Bali, India, Vietnam) in 1933, as a Guggenheim Fellow with Rosa whose photography would become part of Miguel's book, Island of Bali. The book and particularly the marketing for months surrounding its release, contributed to the 1930s Bali craze in New York. He also spent time in China, where his work was very influential among artists in Shanghai. Rosa and Miguel returned to live in Mexico City where he continued to paint, illustrate and write. Their home, Tizapán, would become a hub for visitors from around the world including the likes of Nickolas Muray, Dolores del Río, and Nelson Rockefeller. He taught ethnology at the Escuela Nacional de Antropología e Historia and was appointed artistic director and director of administration for a new department at the Palacio de Bellas Artes, the National Palace of Fine Arts. His mandate was to add an Academy of Dance - a task to which Rosa with her dance and choreography background was most valuable. Miguel recruited friend and dancer José Limón who brought his dance company from New York City for the inaugural season in 1950, taught at Bellas Artes and helped arrange for international exposure of this new Mexican modern dance company. During Miguel's tenure, traditional Mexican dance was not only researched, documented and preserved but by this research into its roots, it helped usher in a new era in contemporary Mexican dance. In 1952, Covarrubias had completely separated from Rolanda in pursuit of one of his own students, Rocío Sagaón. He married Sagaón in a Catholic ceremony. Death and legacy Covarrubias died on 5 February 1957 in Mexico City from sepsis, most likely a complication of his surgery after suffering from an ulcer. Covarrubias' style was highly influential in America, especially in the 1920s and 1930s, and his artwork and caricatures of influential politicians and artists were featured on the covers of The New Yorker and Vanity Fair. Covarrubias is also