different currents that animate them. These sketches allow us to appreciate Rivera's work of technical and aesthetic experimentation, together with the process necessary to communicate the complexity of his ideas. Among the drafts that are exhibited, stands out the one made for the mural Man at the Crossroads, painted in 1932 at the Rockefeller Center and later destroyed by the orders of magnate Nelson Rockefeller. Likewise, Historia del Estado de Morelos, part of the mural at the Palacio de Cortés in Cuernavaca, Conquest and Revolution (1933), and the sketches for The Portrait of America at the New Workers School New York, are impressive. There is a sketch of a nude made for the mural in the Chapingo Chapel and a drawing that does not belong to any mural, entitled "Diego as a child drawing", in which he conveys his early passion for figuration. Next, some of the drawings that are kept at the Anahuacalli: Murals of the Palace of Cortés (1933), Cuernavaca: Sketch for the mural "History of the State of Morelos. Conquest and Revolution". Two full-size cards; one with the portrait of Morelos and another with the images of the La Patria and Zapata, which are part of the frescos "Independence 1810" and "Revolution 1910". Sketch for the mural "Encounter of Hernán Cortés with the Tlaxcaltecas". Mural "The Portrait of America" (1930), for the New Workers School, New York: "The Conquerors", first panel of the preliminary study for the play "Class Struggle in the United States" Mural "The Man at the Crossroads", (1932), for Rockefeller Center, New York: "The death of tyranny" "The death of idolatry" "The technical man" "The man at the crossroads" (A and B) Other murals: "Meeting A", "Meeting B" (sketches for complementary panels of the mural "Nightmare of war and dream of peace") Sketch of the mural "Water, the origin of life", for the Cárcamo de Chapultepec Sketch of a nude figure inside the mural "Germination", found in Chapingo Chapel "Diego drawing as a child" New Anahuacalli Spaces The Anahuacalli Museum working team devoted to the construction of new spaces, initially due to the need for a new collection depository room, since the original one built by Juan O'Gorman and Ruth Rivera -which lasted approximately 60 years- was too small for the number of pieces in all. Later, it was decided that the project would not be limited to this storage, but was to be