Carmelita Tropicana: Recordar es Vivir
Alexandra Martinez
Essays
AllAbolitionAbstractionAfro-LatinxartesaníaAssemblageBlack AtlanticBlacknessBorderlandsBuilt EnvironmentCaliforniaCapitalismCaribbeanCeramicsChicanx ArtColombiaColonialismCraftCuban American ArtDecolonialityDiasporaDisplacementDominican American ArtEcologiesEmbodimentEnvironmental JusticeExileFeminismFiber artFilmGender-Based ViolenceGentrificationHairIndigeneityInstallation ArtLaborMaterialityMemoryMigrant ImaginariesMigrationMixed MediaMultidisciplinary artNepantlaNew MexicoNicaraguaNueva YorkNuyorican ArtPaintingPerformancePhotographypostcolonialPrintmakingPublic ArtPuerto Rican ArtPuerto RicoQueernessSacredSalvadoran American ArtSan AntonioSculptureSonoran DesertSoundSpiritualityState ViolenceTexasU.S.-Mexico BorderWorldmaking
Freedom Denied
Lille Allen
Diana Solís’s World-Traveling Creative Praxis
Erika Gisela Abad
Adriana Corral’s Sous Rature, “Under Erasure” (2016) and Unearthed: Desenterrado (2018)
Raquel Gutiérrez
Death & Ambition in Vincent Valdez’s Art
Jorge Eduardo Sibaja
Regarding Cuba in Coco Fusco’s To Live in June with Your Tongue Hanging Out
Luke Urbain
Turn away, towards, and unfurl: on the Work of Juan Sánchez
Alexandra Méndez García
Decolonial Gestures and Entangled Forms: Elia Alba’s Migratory Aesthetics
Benjamin Ogrodnik
Two-Spirit Joy: Ester Hernandez’s Queer Portraiture
Claudia Zapata