Mexico’s traumatic Revolution (1910–1917) attested to stark divisions that had existed in the country for many years. Following the conflict, postrevolutionary leaders attempted to unify the country’s diverse (particularly indigenous) population under the umbrella of official mestizaje. Indigenous Mexicans would have to assimilate to the state by undergoing projects of “modernization” that entailed industrial growth through the imposition of a market-based economy. One of the most remarkable aspects of this nation-building project was the postrevolutionary government’s decision to use art to communicate discourses of official mestizaje. Until at least the 1970s, state-funded cultural artists whose work buoyed official discourses by positing mixed-race identity as a key component of an authentic Mexican identity. State officials viewed the hybridity of indigenous and female bodies with technology as paramount in their attempts to articulate a new national identity. As they fused the body with technology through medicine, education, industrial agriculture, and factory work, state officials believed that they could eradicate indigenous “primitivity” and transform Amerindians into full-fledged members of the nascent, mestizo state. This book discusses the work of José Vasconcelos, Diego Rivera, José Clemente Orozco, Emilio “El Indio” Fernández, El Santo, and Carlos Olvera. These artists—and many others—held diametrically opposed worldviews and used very different media while producing works during different decades. Nevertheless, each of these artists posited the fusion of the body with technology as key to forming an “authentic” Mexican identity.