Holocaust Museum Houston (HMH) will open its first Spanish/English bilingual exhibit, “Bittersweet Harvest: The Bracero Program 1942-1964,” Friday, December 9, 2016. The exhibit showcases the bracero program, the largest guest worker program in U.S. history, which brought millions of Mexican nationals north to work on short-term labor contracts.
The work was backbreaking and living conditions poor, but the program offered Mexican men economic opportunities and much-needed work. Their contributions to communities in Mexico and the U.S. have had a lasting impact on the political, economic, social, and cultural landscapes of both nations.The exploitation of bracero workers and violations of their legal rights and civil liberties prompted efforts to repeal the program. In 1956, photographer Leonard Nadel documented the harsh realities of bracero life, intending to highlight employer violations and improve bracero working conditions.
The exhibition is traveled by the Smithsonian Institution Traveling Exhibition Service, and Nadel’s images provide the visuals for “Bittersweet Harvest: The Bracero Program, 1942-1964.”The new exhibit runs through Sunday, May 14, 2017, in the Museum’s Central Gallery at the Morgan Family Center, 5401 Caroline St., in Houston’s Museum District. The public is invited to an opening reception held 6 p.m. to 8 p.m. Thursday, December 8, 2016, with opening remarks at 6:30 p.m.
Admission is free, but advance registration is required for this reception. Visit http://www.hmh.org/RegisterEvent.aspx to RSVP online. To renew a membership or to join and attend, visit www.hmh.org, e-mail Natalia Regan at email@example.com or call 713-527-1616.“Bittersweet Harvest: The Bracero Program 1942-1964,” was organized by the Smithsonian’s National Museum of American History in partnership with the Smithsonian Institution Traveling Exhibition Service. Funding was provided by the Smithsonian Latino Center.Presented locally by Wells Fargo, “Bittersweet Harvest: The Bracero Program, 1942-1964” is also made possible in part with a grant from Humanities Texas, the state affiliate of the National Endowment for the Humanities.