From the mid 1930s onwards Bauhaus emigres, including Josef and Anni Albers, and Marguerite Wildenhain, traveled throughout the Americas observing, documenting and collecting handicrafts produced by pre-Columbian and contemporary indigenous cultures. Anni Albers and her fellow weavers, including a younger generation of Fiber Artists looked for example to Peruvian textiles, due to their technical brilliance but also because of the high social value afforded weaving in Inca culture. An interest in vernacular handicraft and architectural typologies on the part of former Bauhaus masters is also evidenced by the photographic studies undertaken by Hannes Meyer and Lena Bergner during their sojourn in Mexico.
This turn to the vernacular and to handicrafts was similarly politicized in post-independence Morocco, where rejection of the French Beaux-Arts model by Moroccan artists of the early 1960s led to the re-evaluation of local North African craft traditions such as jewelry, rugs, ceramics, vernacular architecture and murals in the course of their developing a post-colonial style of art and design. Cross-referenced with elements of Bauhaus pedagogy, the concern with Moroccan craft tradition was integrated into the curriculum of the School of Fine Arts in Casablanca by a cadre of young artists serving then as instructors, including the painter and graphic designer Mohamed Melehi.