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  • About
    • Mission
    • Team
    • History
    • Press
  • Events
    • X as Intersection
  • Programs
    • Writing on Latinx Art
      • Previous CFPs
    • Latinx Artist Fellowship
    • Micro-Grants
      • Charla
      • CHISPA
      • Artist Mentorship Program
  • Contact
    • Newsletter
    • Email
Donate
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Home Essays Nepantla

Topic: Nepantla

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 Bordervideo artwaterWorldmaking
Large hand-painted map of the Gulf of Mexico on amate paper. Rendered in muted earth tones, blues, and greens, the work layers coastlines, rivers, ships, animals, Indigenous and colonial imagery, environmental references, and scenes of resistance across the Gulf region. “Gulf of Mexico” appears in gold at the center. Historical and contemporary events unfold simultaneously, creating a visual narrative of colonialism, migration, ecology, and cultural resilience.

Outlaw Paper: Sandy Rodriguez’s Resistance Map of Gulf of Mexico

Veronica Pesantes Vallejo
A film still in black and white shows two feet in a pair of low-heeled white shoes against a desert landscape.

With All Her Belongings: The Diasporic Middle Ground in Maria Cristina (Tina) Tavera’s Zozobra

Jamie L. Ratliff

Rosemary Meza-DesPlas and Resistance

Kimberly Sandoval
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