The work of Marcos López feeds off of multiple sources of the Latin American imaginary, from Mexican muralists to soap operas, from advertising and the chromatic histrionics of street signs to kitsch mixed with boleros. Only a handful of authors have a universe so much their own, so easily recognizable and so incisive. When taken as a whole, his series Pop Latino and his later works -always marked by his personal, Latin cosmovision- propose to substitute an iconography that has little to do with the mixture of peoples and races that has sprung up quite naturally across Latin America. These works make López a genuine and willingly Latin American author in a time in which most people born there attempt to disconnect themselves from their origins.
Critics who focus on his work concur in highlighting sarcasm, stridency and histrionics as the outstanding elements of his personal grammar; in fact, postmodernism is usually the place where the analysts venture to contextualize within the artistic panorama. The way his work relates to cultural, economic and political realities provokes all types of reflections, but the most enriching "theoretical support" for his work cannot be found in any of the numerous essays that have been written on it. To get to know this author and understand the honesty with which he approaches his work, the best texts are those published by the author himself in the form of manifestos, articles and letters. These texts provide the key to who he his, to his passions and dislikes, but most especially to the way in which he lives with contradiction. These texts are a sort of self-portrait without pseudo-intellectual concessions: comprised of short phrases, somewhat more connected than their verb, apparently unconnected but overwhelming. One could say that each of his phrases is an image. In his own writing, Marcos López has managed to bring together those of us who write about his work. Any attempt to use more proparoxytones to express what he has written so very clearly only leads us to quote him again and again, to cannibalize those verbal darts that are as on the mark as his photographs.