Latin American and Latinx Visual Culture makes the following correction to Catherine S. Ramírez's, review of Axis Mundo: Queer Networks in Chicano L.A., by C. Ondine Chavoya and David Evans Frantz, with Macarena Gómez-Barris, (Latin American and Latinx Visual Culture, 2019 Vol. 1, Number 3, pp. 101–102 DOI: https://doi.org/10.1525/lavc.2019.130007):

On p. 102 the second-to-last paragraph is corrected to: “ Although Axis Mundo “takes its cues from, but flips the script on, exhibitions that seek to chart the circle of lesser-known artists surrounding a more lauded figure,” certain artists—namely, Meza, Roberto Gil de Montes, Navarro, Sandoval, Terrill, Vargas, Velázquez, and the group Les Petites Bonbons—come to the forefront (p.25). All merit our attention and all are men. The academic essays by Alvarado, Bryan-Wilson, Gunckel, and Gómez-Barris help offset the catalogue's androcentrism. Still, some of the women and not entirely male artists, like Faith Wilding and ¡Cholita!, a band that billed itself as “the female Menudo,” receive scant attention. Meanwhile, Gómez-Barris' “The Plush View: Makeshift Sexualities and Laura Aguilar's Forbidden Archives,” the final academic essay in the volume feels a bit like an addendum.”