In 1932, Alfonso Caso, a rising professor of anthropology and employee of the Mexican National Museum of Anthropology and History made a huge archeological discovery; a centuries old tomb in the ancient citadel of Monte Alban located in the southern Mexican state of Oaxaca. In the months that followed the discovery the find was excavated, cleaned, cataloged and put on display. Altogether the cache consisted of hundreds of objects made of gold, precious stone, sea shells and human remains. Dubbed the Monte Alban Treasure by its discoverer, the find soon became a worldwide sensation. Public interest in a travelling exhibition exacerbated demands for the treasures public display in the United States. This dissertation traces the discovery, exhibition and consequences of the display of Monte Alban Treasures in the United States following the end of the armed phase of the Mexican Revolution. I argue that as the Revolution was in full swing, the existing new leadeship used archeology and art to dictate the cultural monikers that represented the country after the civil war. Defining the national character, establishing a cohesive cultural history and developing a visual narrative that coalesced with the governments aspirations informed the basis of the social changes fomented between 1921-1936. I argue that a series of popular art and archeological shows in Mexico and the United States in the late 1920's primed audiences for a revolutionary re-interpretation of Mexico's past that integrated indigenous populations into the history of the nation. This narrative minimized the impact and influence of European colonial powers and instead focused upon emphasizing the origins of Mexico's independent cultural identity. The display of Monte Alban Treasures in Mexico and the United States between 1922 and 1934 was part of this emergent revolutionary rhetoric. This research project explores the popular audience responses to the exhibit, but also charges alleging that the artifacts selected for display were fabricated. This twist demonstrates some of the major problems associated with using art and archeological evidence to represent broader political agendas. In this case, the Mexican government appropriated the Monte Alban Treasures, assigned them a narrative of indigenous appreciation and inclusivity and used their subsequent display to promote this abroad. This project will show how science and art were not contradicting fields of study, but fused to forge the public Revolutionary identity of Mexicans in the mid twentieth century.

The implementation of geographic information systems for the analysis of Late Classic (500-800 C.E.) terraces at Monte Albán, reveals a spatial pattern not visible through prior pedestrian site surveys. The Valley of Oaxaca Settlement Pattern Project concluded that nearly all of the 1,464 Late Classic terraces at Monte Albán were used for residential purposes. Spatial analysis tools reveal a greater human-ecological complexity. The goal of this study was to use ArcGIS to map the 1,273 terraces near Monte Albán's ceremonial center and combine them with individually identifiable data sets. Analysis of each terrace, particularly based upon water availability, ceramic distribution, structural remains, and number of metates, reveals that 55.7% of these 1,273 terraces could have supported agricultural practices. The integration of agricultural space into a dense urban center reveals new spatial relationships between population density and urban agricultural practices, to which measures of resiliency and efficacy within similar modern systems can be applied.