Union of the Americas, a fresco mural by Jesus Guerrero Galván (1910-1973), is located 
on the first floor of Scholes Hall on the north wall. The mural was produced during 
Guerrero Galván's residency at The University of New Mexico in 1942, and dedicated on 
February 13, 1943. The approximate dimensions of the work are 18 feet long by 7 feet 
tall.  Evidence of age are apprent along the boarders of the frame, and some subtle 
repairs have clearly been made to the piece. The smooth texture of the plaster betrays the 
divisions of labor on the piece: between 11 and 15 seprate sections can clearly be seen 
upon close examination, as is the nature of fresco.  These slight lines created by 
suspending work, redoing the work, or touching up are hallmarks of this technique and in 
no way detract from the work as a whole. 

In this fresco mural by renowned artist Jesus Guerrero Galván there are a toal of five 
prominent human figures. Seated on earth in the foreground are two women to the far 
right and left of the piece. Between these women are what can be assumed to be their 
children. Above this space floats a larger than life hispanic female that represents 
Liberty. The space is presented as gateway opening to a landscape. At the bottom of the 
right wall of this gate the inscription reads: 

	Donation of Jesus Guerrero Galván                                                                                                                                                       	MEXICO, first Latin American                                                                                                                  	Artist in Residence at the Unver                                                                                        	sity of New Mexico, 1942-43.							Appointed by the School of Inter-							American Affairs and the College							of Fine Arts, through a grant of the commi						ttee for Inter-American Artistic								and Intellectual 	Relations of the								Office of Coordination of Inter-Ame							rican Affairs.
The woman on the left is clearly Anglo, with light skin, and blond hair. Depicted in 2/3 
profile, she is dressed in typical western clothing for the time, a pastel orange dress of 
simple tailoring.  Opposite this woman is another, in similar profile, dressed in a long red 
dress with a blue scarf over her hair, but not as to obstruct her face. Her skin tone is a 
jaundiced yellow, however the impression is that of a hispanic woman,in her mid thirties 
perhaps. 

Between these figures are two male children, both about four or five years of age, 
representing the children of both cultures respectivly. The anglo child is naked except for 
his blond hair, and is presented in profile kneeling before the other, with hands reaching 
for the Agave cactus being offered by the hispanic child. Standing before the Anglo 
child, the Hispanic boy is dressed in a white loin cloth, and is is shown faceing out, but at 
the same time, towards, the other boy. 

Liberty, depicted as a hispanic woman, dominates the upper half of the mural. In her
right hand she carries the torch that lights the scene, breaking through cold and dark 
tones to reveal a warm scene below. Dressed in a neutral gray dress, and a red cape, she 
watches vigilantly over her charge, the expression in her eyes conveys strength of 
character, and determination of will. With slightly enlongated limbs, she appears to be in 
motion; The air swirling around her form causes her cape to take on a repetative flapping 
appearance, her hair is flowing, and the torchs flame flickers against the darkness that 
seems to be trying to envelope the entire piece. 

Dividing this scene is a serpentine river that comes from the horizon to the foreground, 
the blue of the water stands out in vibrating contrast with the muted reds and flesh tones 
of the scene.  To either side of this river, and placed behind the women, are two 
mountains, one natural and one man made. The Anglo woman is seated before a grand 
mountain range that jutts from the horizon as mountains are want to do. The grandure of 
nature, the sence of new frontiers, and the might, or perhaps stubbornness, of North 
America seeps from the plaster in which this mountain in constructed.  Juxstaposed 
against this are two pyramids as one may find in Mexico as reminants of a once powerful 
and advanced nation.  As the four sided pyramids rise from the ground behind the 
Hispanic woman a sence of strong identiy, a national uinity, is portrayed.  The pyramids 
seem to emphasize the community that exsists through the history and culture of a nation. 
The impression is that one culture has already estabilished itself, and may climb their 
stairs to be closer to Liberty, while the new commers, Anglos, must climb a mountain to 
get to the top.