14 In the individual successes of these artists, fulfilment, too, of the modernist tradition in Philippine art is being realized…they have accelerated the motion initiated by our earlier generation of modernists.” Other artists selected in the groundbreaking exhibition include: Raymundo Albano, Angelito Antonio, Antonio Austria, Benedicto Cabrera, Eduardo Castrillo, Restituto Embuscado, Marciano Galang, Jaime de Guzman, Lamberto Hechanova, Noel Manalo, Ben Maramag, and Manuel Rodriguez, Jr. In subsequent years, as a form of recognition of the Thirteen Moderns who rallied around Victorio Edades in the pre-war 1930s, this 1970 exhibition developed into the CCP Thirteen Artists Awards given every few years to a new batch of artists who show “fresh visual language, innovative solutions to artistic problems, and sustained creative output.“ These responsibilities or obligations seem to be part of Aviado’s art practice upon his return to the Philippines after his European sojourn. In his tireless and persistent endeavors in producing a large body of work in the graphic medium, Aviado also provided support and encouragement for both established and emerging artists in pursuing printmaking. Parallel to the spread and dissemination of a new creed and devotion in the islands accelerated with the printed word and images on paper centuries ago at the beginning of Spanish colonization, Aviado continued the mission of his mentor Manuel Rodriguez, Sr. in advocating printmaking in his numerous exhibitions, workshops, and leadership role in various artist groups and institutions throughout his career. After his extensive training in etching and lithography in Madrid and Paris, Aviado returned to the Philippines in 1976 and reconnected with mentors Manuel Rodriguez, Sr. and Araceli Dans, and with friends and colleagues. He soon became heavily involved in the activities of the Philippine Association of Printmakers (PAP), and was president for both PAP and the Art Association of the Philippines. One of his first projects upon his return was working with Manuel Rodriguez, Jr. in the public display of art in buildings strategically located in the cityscape in an attempt to bring the visual arts to the everyday reality of Filipinos. Teaching in a classroom was also integral in propagating the print medium; Aviado joined the faculty of the University of the Philippines (UP) College of Fine Arts and later was dean of the College of Music and Fine Arts in his alma mater, Philippine Women’s University. In 1978, Aviado moved to Baguio and with businessman and artist Michael J. Parsons opened The Monastery in the hill station area of the cool city. The Monastery is private print workshop with high quality tools, equipment, and materials, where both local and international artists can work in different media. The Monastery ceased operations in 1991 soon after the Baguio earthquake and when Parsons fell ill. Eleven years later in 1989, Aviado and Jolly Benitez opened the Mariposa Gallery and Workshop in Cubao, which became home of the Philippine Association of Printmakers (PAP) for some years. Aviado was also Director of the Coordinating Center for Visual Arts of the Cultural Center of the Philippines (the same