Originally designed to be a hospital, like Les Invalides in Paris, and named after the bishop, today the World Heritage Site in the historic heart of Guadalajara is a museum, with modern art outside and exceptional murals by Orozco inside. The central masterpiece on the ceiling of the rotunda is ‘The Man of Fire’, a modern version of the myth of Prometheus (in photo on right). I had seen Orozco’s earlier version in the Pomona dining hall in California, considered “the greatest painting in America” by Jackson Pollack. Orozco lost his left hand making fireworks at 21, and he was fascinated by the story of a man who risked his life and suffered to expand human knowledge and civilization, only to be punished by the Gods. He felt the myth was an allegory for artists, explorers and reformers who were punished by conservatives for their efforts to bring enlightened change to the people. Every alcove and wall tells a story of both progress and betrayal, of historic accomplishments and dark consequences.

Prometheus stole fire from the Gods, but today we struggle with the consequences of burning carbon. Fossil fuels helped us achieve great things, but there are always consequences. Struck by the inescapable conclusions of the art here, we see that conflict over ‘progress’ often results in suffering, especially among the poor. Murals require us to step back, to try to see the bigger picture. We can build hospitals, and we can also destroy whole cultures. We can choose sustainable fuels, or we can let powerful men perpetuate destructive fuels. We may believe ourselves invincible and deserving of the powers of the Gods, but our actions come with destructive consequences that we must try to see, understand and prevent. We must give up fossil fuels, or our world will burn.