the Anahuacalli, contemporary art exhibitions are presented on the premises. These proposals are carefully chosen, as they must alternate harmoniously with the museum's architecture, with the pre-Columbian art on display, with the nature that surrounds it, and with the foundational and evolving concept of Diego's Anahuacalli. The Anahuacalli is a testimony to Rivera's generosity; he created a prodigious architectural work to display his collection of pre-Hispanic art with the people of Mexico and the world. Thanks to this museum, today, thousands of national and foreign visitors can delve into the creative universe that the muralist left housed in this unique place. Everyone who visits the site can enjoy its natural and architectural spaces, as well as the rich collection of Mesoamerican art bequeathed to Mexico, by Master Rivera. History of the Anahuacalli In June, 1940, Diego Rivera painted the mural Pan American Unity for the "Art in Action" program of the Golden Gate International Exposition(GGIE). In this mural painting, the artist shows a clear interest in extolling the pre-Hispanic cultures. After his return to Mexico in 1941, he is willing to begin the construction of a museum that socialises the pre-Columbian aesthetics, both through its architecture and the collection on display. For these purposes, Diego chooses the land that he acquired in the Pedregal de San Ángel to plan his museum and City of the Arts. In the preparatory drafts, a plaza for art and handcart workshops was included, as well as forums dedicated to the performing arts, permanent exhibition halls and a Mexican art museum with nine venues. Rivera expended a considerable amount of his earnings in what would be one of the most ambitious projects of his life: the Anahuacalli. The Anahuacalli construction began in 1942, in the suburb and town of San Pablo Tepetlapa. A year later, the Mexican artist Frida Kahlo (1907–1954) wrote a letter to the engineer Marte R. Gómez, then Secretary of Agriculture and Development of the government of President Manuel Ávila Camacho, in which she explained her husband's need to build a space that houses his collection. In the words of Frida herself: "(…) after his painting work, what excites him most in his life are his idols (…). His idea was always to build a house for the idols." In said letter, Frida expresses her concern for the sadness of her husband, not having sufficient financial resources to complete the building. As