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If the guy only knew that I was going farther, much farther, than the center of town. вЂњThen we canвЂ™t take any responsibility.вЂќ The receptionist gave me a practiced smile. вЂњBut the center of town is only two blocks from here,вЂќ I answered, both surprised and annoyed. вЂњIf you want to do some shopping, if you want to go to a movie, the hotel limo can take you and pick you up,вЂќ they told me at the reception desk. I got up early to take care of my business before the film team set up in front of DiegoвЂ™s murals.

I told myself that the camera is the paintbrush of our age, so here I am, contracted to do one thing but present - with a presentiment, maybe - to do something else very different. IвЂ™d prefer, if I were a painter, the problem-free clarity of an Ingres or the interior torture of a Bacon. IвЂ™m a photographer, but IвЂ™m neither the marvelous SebastiГЈo Salgado nor the fearsome Diane Arbus. I wasnвЂ™t moved either by the moral in the warning or by any apocalyptic taste for misery and deformity, not even by simple humanitarianism. I wanted to photograph the ruin of a great industrial center as a worthy epitaph for our terrible twentieth century. I insisted on beginning in Detroit for one reason. I would begin with Rivera in Detroit, then move on to Orozco at Dartmouth and in California, and then to a mysterious Siqueiros in Los Angeles, which I was instructed to find, as well as lost works by Rivera himself: the mural in Rockefeller Center, obliterated because Lenin and Marx appeared in it and other large panels which had also disappeared.

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And now, in 1999, I was here - officially, of course - to make a TV series on this and other Mexican murals in the United States. One proof of the cityвЂ™s power, weвЂ™re told, is that in 1932 it invited the Mexican artist Diego Rivera to decorate the walls of the Detroit Institute of Arts. Secretly, I was more interested in capturing the decay of a great city - the first capital of the automobile, no less, the place where Henry Ford inaugurated mass production of the machine that governs our lives more than any government. I came to Detroit to begin a television documentary on the Mexican muralists in the United States. I dedicate this book of my ancestry to my descendants

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