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37

Goldman 

NOTES

Look at Artists of the Great Depression," Smithsonian Magazine  10 No. 7 (October 1979):45-53: Joshua C. Taylor, "El artista norteamericano en el New Deal," unpublished paper.
14.  See Bertram D. Wolfe, The Fabulous Life of Diego Rivera, passim, but especially "The Battle of Rockefeller Center," pp. 317-340; Max Kozloff, "The Rivera Frescoes of Modern Industry at the Detroit Institute of Arts: Proletarian Art Under Capitalist Patronage," Artforum 12, No. 3 (November 1973):58-63; Shifra M. Goldman, "Siqueiros and Three Early Murals in Los Angeles," Art Journal 33, No. 4 (Summer 1974):321-327; Olav Münzberg and Michael Nungesser, "Die mexikanischen Wandmaler Orozco, Rivera und Siqueiros in dem USA," in  Amerika: Traum und Depression, 1920/40, pp. 383-384.
15. Raúl Fernández, The United States-Mexico Border: A Politico-Economic Profile, p. 4.
16. IBID, p. 8. Among the common manifestations today are the maquiladores, non-union assembly plants established in the northern Mexican border areas, with the agreement of the Mexican government, by U.S. industry. These run-away shops employ thousands of Mexicans, particularly women, at one-tenth of what would be paid in the United States. The feature film Raices de Sangre (Roots of Blood) which treats this subject and points out the transnational exploitation of Mexican nationals and Chicanos in the U.S. by the same companies, was produced in Mexico in 1977 by Los Angeles Chicano filmmaker Jesús Salvador Treviño.
17.  Juan Gómez-Quiñones, Development of the Mexican Working Class North of the Rio Bravo, pp. 27-31.
18.  Marx established the germinal concept from which this idea developed.
In Vol. I, Chapter 6 of Capital, Marx describes among the characteristics of labor-power the subsistence needs of the laborer (food, clothing,

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