This print by José Guadalupe Posada probably began circulating as a leaflet that carried the following message: “From this famous hippodrome on the racetrack, not even a single journalist is missing. Death is inexorable and doesn’t even respect those that you see here on bicycle.” Each skull had the name of a newspaper and an accessory that served as an allegory for it. For instance, toward the left edge, there was La Voz de México with a skull dressed in black holding the scythe of death; El Universal carried a kind of crown of celestial bodies; El Tiempo had wings, like Chronos; Partido Liberal wore a Phrygian cap; Gil Blas was dressed as an intellectual with a feather hat; and Siglo XIX wore a top hat. There were also smaller skulls that represented independent newspapers La Casera, Fandango, Siglo XX, and Quijote. Both the size of the skulls and the newspapers chosen by Posada—many of them no longer in existence at the beginning of the 20th century—suggest that the cartoonist was criticizing the condescension of the big newspapers of the Mexican elite during the regime of Porfirio Díaz. In the first few years of the 20th century, the regime toughened its censorship of independent or opposition press in order to remain in power. With his characteristic sarcastic humor, Posada predicted the decline of all these newspapers. This piece, which belongs to the AMA collection, corresponds to a later version of that illustration, which showed an explicit relationship between the skulls and the newspapers. The names of the newspapers were eliminated from the original version, with the exception of Siglo XX and the skull dressed in black. These types of publications aimed to adapt prints for different communication needs and were common, even more so in the case of Posada, whose work was widely appropriated in the early thirties during the consolidation of the post-revolutionary cultural project. José Guadalupe Posada, born in Aguascalientes, was a Mexican draftsman, illustrator, and cartoonist who became one of the most emblematic figures of Mexican visual culture in the thirties. In 1870 he became an assistant at José Trinidad Pedroza’s studio, where he learned drawing and graphic techniques. A year later, he began working as an illustrator at the newspaper El Jicote, where he created several political cartoons for the first time. Later, Pedroza and Posada moved to León (Guanajuato) and started a printed visual communications company in charge of the graphic design of packaging and religious images, among other objects. In 1887 Posada moved to Mexico City, where he began working as an illustrator for Diario de México and La Patria. His work for the Vanegas Arroyo publishing house was possibly the most widely disseminated, as this was a company that produced literature in installments, leaflets, illustrations, corridos, and other printed material aimed particularly at popular sectors. In the following years, Posada worked for more newspapers, many of which criticized the regime of Porfirio Díaz and the disasters of the Mexican Revolution (1910-1920). Posada was not recognized as a prominent artist or a public figure during his lifetime. His inclusion in Mexican art tradition is due to the recovery of his iconography by artists in the post-revolutionary cultural movement, who saw genuinely popular and Mexican creativity in his work, expressed using modern language. It was only in the thirties that Posada became known as the artist of the people and a pioneer of the Mexican modernart movement. His work turned him into a quint essential model for post-revolutionary artists and a key figure of Mexico’s visual culture.