Figure 1. Unidentified artist, Cacerolaza chilena , 2020 (photograph in the public domain) More

Figure 1. Rupert García, Assassination of a Striking Mexican Worker , 1979, reproduced on the cover of Haydée Fígoli and Ida Rodríguez Prampolini, eds., A través de la frontera (Mexico City: Centro de Estudios Económicos y Sociales del Tercer Mundo, A.C.; Instituto de Investigaciones Estéticas,... More

Figure 2. Rubén Ortiz-Torres, cover design for LA Weekly 13, no. 48 (November 1–7, 1991) (photograph provided by the artist) More

Figure 1. Rubén Ortiz-Torres, American Graffiti , 2020, digital drawing (photograph provided by the artist) More

Figure 2. Cover of Francesco Siqueiros et al., Aquí y allá (Los Angeles: Los Angeles Municipal Art Gallery, 1990); design by Vicente Rojo Cámara (photograph in the public domain) More

Figure 3. Rubén Ortiz-Torres, Bart de México , illustration for Art Issues Magazine , no. 29, 1991, ink, xerox, collage (photograph provided by the artist) More

Figure 4. Rubén Ortiz-Torres, Trío Cubista: Nuevo Paisaje Zapatista , illustration for Art Issues Magazine , no. 29, 1991, xerox collage (photograph provided by the artist) More

Figure 5. Installation view from MEX/L.A. , Museum of Latin American Art, Long Beach, 2011–12, featuring Alfredo Ramos Martínez, The Family/ La familia , 1932, tempera, charcoal, and pastel on newspaper ( Los Angeles Times ), 21⅛ x 15¾ in. (53.7 x 40 cm); Alfredo Ramos Martínez, La reunión/ T... More

Figure 6. Rubén Ortiz-Torres, América blanqueada /Whitewashed America , 2014, urethane and chromaluscent pearl on resin, 41 x 192 x 2 in. (104.1 x 487.7 x 5.1 cm). Collection of Ellen Goldsmith-Vein and Jon F. Vein, Los Angeles (photograph provided by the artist) More

Figure 1. English-language cover of Clara Bargellini and Michael Komanecky, eds., The Arts of the Missions of Northern New Spain, 1600–1821 , exh. cat. (Mexico City: Antiguo Colegio de San Ildefonso, 2009) (photograph in the public domain) More

Figure 2. Libertad Villareal ( left ) and author Clara Bargellini ( right ) examine a processional figure from Coyachi, Chihuahua, in 2004 (photograph provided by Gerardo Villareal) More

Figure 3. Author Clara Bargellini with members of the congregation of the church in San José, Temeychi, former Jesuit mission in the Tarahumara, Chihuahua, 2011 (photograph provided by Libertad Villarreal) More

Figure 1. Installation view, introduction to the exhibition Emiliano: Zapata después de Zapata , Museo del Palacio de Bellas Artes, Mexico City, Nov. 27, 2019–Feb. 16, 2020 (photograph provided by Jair Antonio García Moctezuma) More

Figure 2. Installation view of works in the exhibition subsection entitled “Subverting Gender,” including, from left: Fabián Cháirez, La Revolución , 2014, private collection; Miguel Cano, A usted bellísimo supremo , 2013, collection of the artist; Germán Venegas, La muerte de Zapata , 1984, Go... More

Figure 3. Installation view of the exhibition subsection entitled “Fabricating the Nation’s Hero,” featuring, at right: Diego Rivera, Study for Agrarian Leader Zapata , 1931, private collection (photograph provided by Jair Antonio García Moctezuma) More

Figure 4. Installation view of works in the exhibition subsection entitled “Migrant Images,” including, from left: Roberto Chávez, Emiliano Zapata , 1963, Collection Carlo Emiliano Delgadillo; Rubén Ortiz-Torres, Asesinato de Zapata con tiros verdaderos , 1993, Collection Leopoldo Villareal; Isa... More

Figure 5. Grupo 65 (Arnulfo Aquino, Crispín Alcázar Partida, Rebeca Hidalgo, Melecio Galván, and Jorge Novelo), Los inmigrantes , 1971 (replica made from digital file, 2018), Museo Universitario Arte Contemporáneo, Universidad Nacional Autónoma de México, Mexico City (photograph provided by Jair ... More

Figure 6. Installation view of the exhibition subsection entitled “Campesino Leader,” including, from left: Nao Bustamante, Kevlar Fighting Costumes (set of five), 2015, collection of the artist; and Jorge González Camarena, Ballad of Hope , n.d., Collection Academia de Artes, Mexico City (phot... More

Figure 1. Andrés Sánchez Gallque (Andean, active in Quito c. 1599), Portrait of Don Francisco de Arobe and His Sons Don Pedro and Don Domingo , 1599, oil on canvas, Museo de América, Madrid, and Museo del Prado, Madrid (artwork in the public domain; photograph © Museo de América, Museo del Prado,... More

Figure 2. Map emphasizing the interconnections between cultures of the pre-Columbian Americas. Joanne Pillsbury, Timothy F. Potts, and Kim N. Richter, eds., Golden Kingdoms: Luxury Arts in the Ancient Americas (Los Angeles: Getty Publications, 2017) (map by Anandaroop Roy) More