First in a series of peace palaces built at the beginning of the 20th century, the Pan American Union began with a mission of cultural diplomacy, and after World War II, in its section of Visual Arts evolution in the leader of the scene of painted hemispheric arts, proclaiming the entry of Latin America into the international community by the connections between a group of middle-class art consumers on the one hand and the concepts of citizenship and supranational political and economic liberalism on the other. Arte Panamericano places UPA's ambitious visual arts programs within the broader cultural context of hemispheric relations during the Cold War. Focusing on institutional interactions between aesthetic movements, cultural policies, and public exhibitions, Claire F. Fox argues that in the postwar years, the Visual Arts Section of the UPA emerged as an important point of transfer of movements American modernists and played a significant role in the consolidation of Latin American art as an object of continental study. In tracing the individual careers of cultural subjects and artists that refer to the UPA during the first decades of postwar, such as Concha Romero James, Charles Seeger, Jose Gomez Sicre, Jose Luis Cuevas and Rafael Squirru, the book also record the trajectories and displacements of the sectors of the American and Latin American intellectual left during the interval that extends throughout the Mexican Revolution, the Spanish Civil War, the New Deal and the beginning of the Cold War.