Lettre autographe signée adressée à Julien Levy. [Coyoacan, automne 1942].

"I haven't write to anybody in New York for ages. I felt so far away. I don't know, I couldn't explain you why I didn't write." Elle se réjouit de la perspective d'une nouvelle exposition à New York : "I have been painting a little but if my show is in the winter I would have plenty of time to have 25 or 30 paintings (...) If this amount of things suits you, let me know to start working hard".
Elle lui fait part de l'actualité de son mari :"[Diego] signed a contract with the mexican gobernement to do an enormous fresco(he is allready working on it) which will take at least a year. It is the continuation of the central fresco at the National Palace. As soon as he finish it, he would have time to prepare the show at your Gallery, which couldn't be before 1944 (...) He would like to know how big is your new place and how many things would you like to hang." Elle manifeste son impatience de revoir Jacqueline Breton : "I want very much to get in touch with her and André". Elle lui demande la taille de son cou pour lui faire une chemise : "I want to make for you some "guayaberas" (shirts) which I think would look beautiful on you" ([Coyoacan, automne 1942], 1 p. in-folio).

Cette lettre annonce la poursuite de l'oeuvre la plus importante de la carrière de Diego Rivera : les fresques murales du Palais National de Mexico. Il réalise une première fresque entre 1925 et 1931, titrée Histoire du Mexique, de la Conquête à 1930. A partir de 1942, il s'engage dans l'élaboration du prolongement de cette première fresque. Le sujet illustre de manière didactique et onirique l'héritage des civilisations pré-hispaniques. Rivera achèvera cette partie en 1951.