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Miguel Alandia Pantoja, militant of the Partido Obrero Revolucionario of Trotskyist ideology, was a painter who portrayed the subaltern struggles of the 20th Century in Bolivia and documented his artistic, political and social career in an invaluable political archive, which refers to the time when the elites at the service of the oligarchy controlled the economy and the political administration of the country.

The private political and artistic archive of Miguel Alandia Pantoja, known as “The painter of the Revolution” covers from 1936 to 1979 and is made up of 25 files organized into documentary series, with 2,563 pages. The series are grouped into contracts, personal correspondence with major national and international personalities, socio-political essays, press articles, union and political resolutions and congresses of the “Federación Sindical de Trabajadores Mineros de Bolivia (FSTMB)”, “Central Obrera Boliviana (COB”, “Federación Boliviana de Revolucionarios Artistas y Escritores (FBRAE)”, “Asociación boliviana de Artistas Plásticos (ABAP)”, “Partido Obrero Revolucionario (POR)”, reports, statutes, press clippings, exhibition catalogues and original handwritten fanzines on the life of the muralist.

Miguel Alandia Pantoja died on October 2, 1975 in Lima, Peru during his exile, to which he was subjected by the dictatorship of General Hugo Banzer Suárez for having dedicated his artistic work and his struggle as a Trotskyist militant, for denouncing social inequalities and having participated in the armed defense of the revolutionary government of General Juan José Torres González, in August 1971. Two of his murals were desecrated and destroyed, by order of the dictator General René Barrientos Ortuño, in November 1964. 

The political archive of Alandia is enriched by correspondence with Mexican figures such as Diego Rivera, David Alfaro Siqueiros and Jose Clemente Orozco (external correspondence), as well as with others from Uruguay, Brazil, Cuba, Chile, Argentina, Ecuador, Peru, Czechoslovakia, Mexico, Costa Rica and more, all in defense of the art and culture of Bolivia.