Ray Hernández Durán
Following the Spanish Conquest, responses to Aztec art were varied. While architecture and many sacred sculptures were demolished and their material remains recycled into new construction, other works were either repurposed to fulfill new functions in the colonial setting or sent to Europe where they were collected and admired. Certain Aztec art forms persisted after the Conquest but with various adaptations or reformulations, as seen in manuscript production and featherwork. Other Colonial artworks, for example sculpture and wall paintings, evince the influence of indigenous esthetics, techniques, and forms, evident in sculpture and wall painting. Eventually, Aztec objects transitioned from being perceived as exotic curiosities in royal collections and world’s fairs to historical and archaeological artifacts to works of art appreciated by audiences in Mexico, as signifiers of national identity and indigenous achievement, and in museum exhibitions abroad where Aztec art often continues to be enigmatic, misunderstood, or unknown.
María de Lourdes Gallardo Parrodi
This chapter outlines the development and contributions of archaeological conservation done at the Templo Mayor Project since 1978. The advancements made in this field have been possible thanks to the work of various conservators who contribute their expertise from the moment of excavation to the posterior treatment and research on archaeological findings. They contribute a thorough understanding of the characteristics of different materials, their transformation and processes of alteration, and the different uses they will have within the Mexica archaeological collections. Conservators have designed and implemented a series of protocols that are applied to both new finds as well as objects that are part of the research collections and displays in the Templo Mayor Museum.