Rafael Cauduro's mural 'Los siete crímenes mayores', damaged during a November 15 protest, requires immediate restoration, according to the artist's widow. Liliana Pérez Cano, director of Casa Estudio Rafael Cauduro, urges the Inbal to take responsibility without assigning blame. The work aims to reflect the country's historical tensions.
Casa Estudio Rafael Cauduro has warned about the damage to the mural 'Los siete crímenes mayores', located at the Suprema Corte de Justicia de la Nación. The harm occurred when protesters tried to enter the building during a November 15 march, leading to the loss of some skulls from the tzompantli, a key element of the work.
Liliana Pérez Cano, the artist's widow and director of the space, stressed that the focus is not on blaming anyone, but on ensuring proper protection for public artworks. 'No se trata de culpar a nadie, sino de reconocer que debió existir una protección adecuada para la obra', she stated. She proposes starting with a technical diagnosis to assess the deterioration, structural risks, and conservative restoration options.
Under the Federal Law on Artistic Monuments, the National Institute of Fine Arts and Literature (Inbal) must act promptly. The Casa Estudio offers collaboration through experts familiar with Cauduro's techniques and materials, and suggests public activities like forums and working tables with collectives and citizens to discuss the mural's meaning and conservation plans.
Created in 2006, the mural spans 280 square meters across seven walls of the court's stairwell. It is structured in three levels—underworld, earth, and sky—addressing themes such as kidnapping, torture, homicide, and violation. A 2007 Supreme Court communiqué described how the tzompantli represents buried crimes, culminating in angels symbolizing justice when authorities fail.
The institution regrets the current climate of violence but sees the incident as aligned with the mural's spirit, which captures the era's wounds and truths. They aim to preserve the work's conceptual integrity, leaving the historical mark visible.