We don't want to impose our solutions by force, we want to create a democratic space. We don't see armed struggle in the classic sense of previous guerrilla wars, that is as the only way and the only all-powerful truth around which everything is organized. In a war, the decisive thing is not the military confrontation but the politics at stake in the confrontation. We didn't go to war to kill or be killed. We went to war in order to be heard.

Toward the end of the Cold War, capitalism created a military horror: the neutron bomb, a weapon that destroys life while leaving buildings intact. During the Fourth World War, however, a new wonder has been discovered: the financial bomb. Unlike those dropped on Hiroshima and Nagasaki, this new bomb not only destroys the polis (here, the nation), imposing death, terror, and misery on those who live there, but also transforms its target into just another piece in the puzzle of economic globalization.

All cultures forged by nations—the noble indigenous past of America, the brilliant civilization of Europe, the wise history of Asian nations, and the ancestral wealth of Africa and Oceania—are corroded by the American way of life. In this way, neoliberalism imposes the destruction of nations and groups of nations in order to reconstruct them according to a single model. This is a planetary war, of the worst and cruelest kind, waged against humanity.

Question the images. Take them by the hand and don't let the sweet distancing they offer you vanquish you; do away with the distance's comfort or the soft indifference you derive from concentrating on the quality of the framing, the use of light and shadows, the successful composition. Force these images to bring you to the Mexican Southeast, to history, to the struggle, to this taking sides, to choose a faction.

We are nothing if we walk alone; we are everything when we walk together in step with other dignified feet.

The photographer discovers himself/herself being photographed and we can guess he is uncomfortable. Unsuccessfully he/she tries to recompose his posture and to look like a photographer taking photos. But no, he is and continues to be a spectator. The momentous fact of being photographed leads him to becoming an actor. And, as always, actors must assume a role, which is only an elegant way of avoiding to say they must choose sides, choose a faction, take an option.

In our dreams we have seen another world, an honest world, a world decidedly more fair than the one in which we now live. We saw that in this world there was no need for armies; peace, justice and liberty were so common that no one talked about them as far-off concepts, but as things such as bread, birds, air, water, like book and voice.