In the early twentieth century Aureliano Urrutia, a prominent Mexican physician and politician, amassed a collection of copies of famous antique, Renaissance, and Mexican paintings and sculptures that he installed in estates in Mexico City and San Antonio, where he immigrated in 1914. Read as a whole, and examined in light of Mexico's historical relationship to copies and unidentified artists and the problem of the copy in art history generally, the Urrutia collection illuminates issues central to modern Mexican visual culture, particularly the flexible relationship between form and content and the manipulation of images and associations to construct meaning. A principios del siglo xx, Aureliano Urrutia, notable médico y político mexicano, amasó una colección de copias de famosas pinturas y esculturas antiguas, renacentistas y mexicanas que instaló en propiedades de la ciudad de México y San Antonio, lugar al que emigró en 1914. Interpretadas en su conjunto y examinadas a la luz de la relación histórica mexicana con las copias y con los artistas sin identificar, así como con el problema de la copia en la historia del arte en general, la colección Urrutia arroja luz sobre temas centrales en la cultura visual mexicana moderna, particularmente sobre la flexible relación entre la forma y el contenido y la manipulación de imágenes y asociaciones en la construcción de significado.

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