The graphic has been a historical ally of civil struggles. The combination of image and text - usually simple and brief - of the messages makes possible very soon its use as an instrument of political influence and configuration of public opinion. In the Dominican Republic, and with the passage of time this relationship became more evident. Especially during the April War of 1965 and the other North American intervention. In the 60 years the art world was stimulating and its material and intellectual production, definitely indispensable. Innovative media such as graphics and performance developed. The graphic production of the sixties captures not only a tumultuous period of political and social change, but reflects the impact of civil strife and the principles of a particular ideologization in the world of Dominican art. After the coup d'état against Juan Bosch, the convulsions and social protests that led to a Civil War, and finally a North American military intervention will produce a reaction in the creators of various fields, writers and artists, answers that will go from active participation in political movements and war conflagration; until the definitive modification of his graphic speeches that go in that moment to be loaded of allusions to the context where they were developed.
This is where the urgency is considered as a characteristic and defining element of the graphic, especially the poster of the moment. According to Danilo de los Santos, "in the cultural space that constitutes the 60 decade for Dominican society, outstanding educational, literary and artistic records are produced, which, although expressed at the request of a social and ideological variation, represent -these records - the renovation and contrast of the cultural manifestations that precede it. " From this moment in different parts of the country the creators begin to agglutinate for ideological or aesthetic reasons, depending on the predominance of one or the other of these reasons according to the creator or the place of their development. In the urban area of Santo Domingo where armed struggle and conflicts were concentrated due to the North American military invasion, groups such as the Constitutionalist Cultural Front, Art and Liberation and El Puño among others were developed. These will be those who were grouped for fundamentally doctrinaire and political reasons to directly contribute to the social transformations that were believed necessary at that time. Those who structure these collectives from ideological mobiles will have an active participation in the civil war of 1965 and their work will favor the configuration of the language of the people, the war and the resistance to the US military invasion that occurred as a consequence of this popular revolt.
These are the same agglutinated creators who make up that image of the people in opposition to the image of the country. Although with strong patriotic connotations due to the North American invasion, these creators pose from the graphic (in its most independent, critical and scathing sense) a response as a people, as a conglomeration of people struggling for a common horizon.