Illustrations
Fig. Intro.1 Yreina Cervántez, Big Baby Fig. 8.1 Mario Ybarra Jr., Go Tell Balam, 1991–2017 · 2 It #1, 2001 · 59
Fig. Intro.2 Malaquías Montoya, Fig. II.1 Carmen Lomas Garza, Undocumented, 1981 · 2 Nopalitos para ti, 1989 · 74
Fig. Intro.3 Patssi Valdez, LA/TJ, 1987 · 2 Fig. 10.1 José Montoya, Untitled, from the Pachuco series, 1977 · 83 Fig. I.1 Gilbert “Magu” Sanchez Luján, Aztlán Rifa, 1977 · 12 Fig. 11.1 Luis Jiménez, Vaquero, modeled 1980, cast 1990 · 87 Fig. 1.1 Elizabeth Sisco, Louis Hock, and David Avalos, Welcome to America’s Fig. 12.1 Amalia Mesa-Bains, An Ofrenda Finest Tourist Plantation, 1988 · 28 for Dolores del Rio, 1984 · 97
Fig. 3.1 Gilbert Sanchez Luján, “El Arte Fig. 13.1 Rubén Trejo, Birth of the del Chicano: ‘The Spirit of the Experience,’ ” Jalapeño, 1981 · 101 Con/Safos 7 (1971) · 33 Fig. 14.1 Judithe Hernández, Reina Fig. 4.1 Carlos Almaraz, Mechicano Art Center de la Primavera, 1974 · 110 exhibition invitation with manifesto “Notes on an Aesthetic Alternative,” Los Angeles, Fig. 15.1 Chaz Bojórquez, Por Dios Mechicano Art Center, 1973 · 36 y Oro, 1992 · 119
Fig. 5.1 Malaquías Montoya, Hombre Fig. 16.1 Yolanda López, Nuestra Sin País, 1988 · 38 Madre, 1981–88 · 131
Fig. 6.1 Rupert García, Assassination of Fig. 17.1 Kathy Vargas, My Alamo Striking Mexican Worker, 1979 · 49 (Order of the Alamo), 1995 · 142
Fig. 7.1 Salomón Huerta, Untitled Fig. 17.2 Kathy Vargas, My Alamo (Back of Head), 1998 · 56 (Order of the Alamo), 1995 · 143 Fig. 17.3 Robert Buitrón, Identity Surfing, Fig. 24.1 Delilah Montoya, El Guadalupano, 1995 · 144 1998 · 239
Fig. 18.1 Marion C. Martinez, Oratorio Fig. 24.2 Delilah Montoya, La Guadalupana, a la Virgencita, 2000 · 148 1998 · 240
Fig. 19.1 Celia Alvarez Muñoz, El Limite Fig. 25.1 Alma López, Our Lady, 1999 · 252 (detail), 1991 · 167 Fig. IV.1 William F. Herrón III, The Wall Fig. 19.2 Celia Alvarez Muñoz, That Cracked Open, 1972 · 266 El Limite (detail), 1991 · 169 Fig. 26.1 Lady of Guadalupe Shrine painted Fig. III.1 Rupert García, El Grito on a freeway wall at the end of a dead-end street de Rebelde, 1975 · 176 in Boyle Heights · 273
Fig. 20.1 Mel Casas, Humanscape 62: Fig. 26.2 Personalized front yard lawn Brownies of the Southwest, 1970 · 184 decorations reflect the creators’ talents and create pedestrian-friendly streets · 275 Fig. 20.2 Mel Casas, Humanscape 63: Show of Hands, 1970 · 189 Fig. 27.1 vne placas, Olympic Boulevard, Estrada Courts Housing Project, East Los Fig. 20.3 Mel Casas, Humanscape 70: Angeles, 1973 · 280 Comic Whitewash, 1973 · 191 Fig. 27.2 Willie Herrón and Gronk, The Black Fig. 21.1 Teddy Sandoval with Joey Terrill, and White/Moratorium Mural, 1974–78. Estrada Portrait from the Maricón series Courts Housing Project, East Los Angeles · 282 (photograph of Joey Terrill), 1975 · 201 Fig. 27.3 Los Niños del Mundo and Charles W. Fig. 21.2 Teddy Sandoval with Joey Terrill, Felix, Give Me Life, 1973. Estrada Courts Housing Portrait from the Maricón series Project · 285 (photograph of Joey Terrill), 1975 · 202 Fig. 27.4 Schematic drawing by author of left Fig. 21.3 Joey Terrill, Maricón/Malflora Group side of walkway mural · 285 Portrait, 1976 · 204 Fig. 28.1 Harry Gamboa Jr., No Movie: Fig. 22.1 Ignacio Gomez, Zoot Suit, 1980 · 213 Chicano Cinema, 1976 · 295
Fig. 22.2 Juan Fuentes, Cholo Live, Fig. 28.2 Asco, Decoy Gang War Victim 1980 · 215 (detail), 1974 · 295
Fig. 23.1 Yolanda López, The Nanny, from Fig. 28.3 Asco, Ascozilla/Asshole Women’s Work Is Never Done series, 1994 · 221 Mural, 1975 · 297
Fig. 23.2 Ester Hernández, Immigrant Fig. 29.1 Judith F. Baca, Great Wall of Los Angeles: Woman’s Dress, 1997 · 224