The cover of Tatiana Reinoza’s new book reproduces a cropped version of Sandra C. Fernández’s screenprint The Northern Triangle (2018). Made in response to unaccompanied minors migrating north from Guatemala, El Salvador, and Honduras, Fernández’s composition layers a photomontage of a young girl, eyes upcast, mouth downturned, seated inside a cardboard box that is wrapped in a layer of maroon barbed wire. Images used in print media, as Reinoza’s book demonstrates, continue to be open to new creative applications, routes of circulation, and trajectories of analysis. The image of the girl, as I learned through email correspondence with Fernández, digitally combines her silver gelatin print Niña en Caja de Cartón (1993) with a photograph of another child, closer in age to the youngest of the unaccompanied migrants and originally pictured in the arms of a woman, which the artist sourced online. Above the girl, a curtain of gray-green rosaries floats...

You do not currently have access to this content.