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This article focuses on the visual imagery within the journal  América Indígena  published by the Inter-American Indigenist Institute (IAII). I analyze how the images published there operate as symbolic capital in the formation of an  indigenista  visual culture. I hold that the images published by the IAII’s journal significantly contributed to the consolidation of an  indigenista  discourse and the establishment of an inter-American  indigenista  visuality. This article examines three types of images used by the IAII’s journal highlighting the ideological agendas they played in the articulation of inter-American  indigenismo.  First, I analyze the emblematic image designed by Carlos Mérida that represented the IAII institutional identity. Second, I analyze some woodcuts designed by artists active at the Taller de Gráfica Popular (TGP, Popular Graphic Workshop). Their images gave the journal an homogenous editorial visual identity even though the publication attempted to recognize the diversity and plurality of  indigenista  perspectives. Finally, I focus my attention on photographs taken by different practitioners – explorers, anthropologists, state-allied photographers, and photographers working for tourism offices and publicity. This work allowed inter-American indigenous diversity to reach (or be exported to) international audiences; it also facilitated the plurality of agendas taken up by  indigenistas  during the 1940s.

América Indígena and inter-American visual indigenismo , 1941–1951