The Estridentista movement in Mexico was, for many years, an artistic and literary current forgotten by national historiography. It was not until the 1970s that researchers like Luis Mario Schneider began to rescue and document the life and work of these revolutionary creators, in all senses, who promoted an avant-garde art that changed the face of Mexican culture since the beginning of the 1920s. Estridentismo, as we now know, set the tone for literature, visual, scenic and musical arts to take paths of rupture not only with academic teaching, but also with the ideological discourses that were imposed in that Mexico recently born of the Mexican Revolution. The book that the reader has in his hands, Vértices actualistas del movimiento estridentista, coordinated by writer Daniel Téllez, compiles eight essays that revisit this Mexican avant-garde movement from different trenches to clarify the transcendence of this historical moment, but also to raise questions and answer gaps that other scholars have left aside about the aesthetics, image, speed and spatio-temporal fragmentation that these men and women contributed to the Mexican and Latin American art of their time, an instant without which it would be impossible to explain the culture of the 21st century.