Tania Candiani, Pulso, video, 2016. Photo by Yvonne Venegas.
EN / ES
Unraveling Collective Forms
Curated by Daniela Lieja Quintanar
Programing: Open Quipu/Quipu Abierto
Opening Reception and Performance: April 3, 2019 7-10 pm
Exhibition dates: April 3, 2019 to May 25, 2019
A Quipu or Khipu is a device made of dyed, knotted threads—an ancient Inka, multisensory, extinct language, quipus are the vanished narratives of resistance that inspire this exhibition and public programming. unraveling collective forms knots together artistic reflections centered around collectivity, autonomy, and group manifestations that crack systems.
Artist Cecilia Vicuña defines a quipu as “a poem in space, a way to remember, involving the body and the cosmos at once.” The artists featured are tracing—from their own geographies and contexts—discursive paths that connect with collective forms of resistance. La mirada (the gaze) is directed toward indigenous groups, specifically their ancestral and present knowledge and comprehension of their worlds. Their living luchas (struggles)—and their group organization—that shape and confront capitalist machines, are the spirit that accompanies this exhibition.
Chanccani Quipu by Cecilia Vicuña, is a point of departure where the Andean universe and Western world clash with one another. Mercedes Dorame ties this land—the one inhabited ancestrally by indigenous groups—with spatial projections of reimagined Tongva ceremonial heritage. At the far end of the gallery, Pulso (2016), by Tania Candiani resonates with pre-Hispanic drums from the guts of Mexico City, its metro system. Carolina Caycedo shares My female lineage of environmental resistance (2018–2019), a collection of portraits of 100 eco activist women that make visible their bold dangerous work. Sky Hopinka situates us in Seminole land in Florida, at the historical moment of forced cultural assimilation and the escape of Chieftain Coacoochee from prison. A tapestry, Punks en contra del Sistema (2016,) portrays a hyperlocal underground scene in the 1990s in Guadalajara, revealing fierce organization that evolved into anarchist and feminist projects. The Haitian revolution and the Black Panthers social movements are strings that Jeannette Ehrles cross-references and elevates in visual forms. The 6th Expanse (2016), a photo by Harry Gamboa Jr. features a moment of resistance, literally holding the now demolished 6th Street Bridge in Boyle Heights, ground zero of anti-gentrification. Mónica Rodríguez and Jorge González have created a collaborative space to experiment with processes of learning and exchanging knowledge via popular weaving traditions from Puerto Rico and anarcho-feminist Luisa Capetillo’s readings. Demian DinéYazhi’ threads intergenerational indigenous knowledge with radical queer feminist identity. Kim Zumpfe has built a space of pause that allows us to disconnect from the outside rhythms of the crumbling world. In a first gathering at LACE, Tanya Aguiñiga invited women to explore tactile transmissions while knotting and dipping cord into black dye, resulting in a work-in-progress that will culminate in a celebratory event. Arshia Fatima Haq’s artifacts from Ajnabi Milan (Strangers’ Union) a procession of SWANA (South West Asian & North African) diaspora led by Fanaa on Hollywood Blvd, shimmers into the gallery with a message of alienation and inclusivity.
Unraveling Collective Forms and the programming Open Quipu/Quipu Abierto looks to create a space to gather, remember, learn, and connect with the audience in a common thread. It is an invitation to interlace our own narratives in a khipu, to become talking knots. It is a way of both stringing together, and unraveling possibilities to reimagine ourselves.
Tanya Aguiñiga, Holland Andrews, Julia Bogany, Carolina Caycedo, Tania Candiani, Patrisse Cullors, Demian DinéYazhi’, East Yard Communities for Environmental Justice, Mercedes Dorame, Jorge González and Mónica Rodríguez, Harry Gamboa Jr., Jeannette Ehlers, Arshia Fatima Haq, Sky Hopinka, Israel Martínez, Sayak Valencia and Kim Zumpfe.
Daniela Lieja Quintanar
This project was part of the publication Solidarity Offerings: Three Curatorial Approaches to Ecocritical Art, which can be read for free through the link.
Hyperallergic Opening Review
Hyperallergic Programming Review
Hyperallergic Review Strangers Union
ArtForum Programming Review
Terremoto-Unraveling Collective Forms
Listen to Podcast Episodes:
PODCAST 1 | Oral Histories of Environmental Resistance
PODCAST 2 | Transfeminist Discourses
Support for this project is provided by Andy Warhol Foundation for the Arts and Betsy Greenberg.
Photo documentation by Chris Wormald.
Tanya Aguiñiga is a Los Angeles based artist/designer/craftsperson who was raised in Tijuana, Mexico. She holds an MFA in furniture design from Rhode Island School of Design and a BA from San Diego State University. In her formative years she created various collaborative installations with the Border Arts Workshop, an artists’ group that engages the languages of activism and community-based public art. Her current work uses craft as a performative medium to generate dialogues about identity, culture and gender while creating community. This approach has helped Museums and non-profits in the United States and Mexico diversify their audiences by connecting marginalized communities through collaboration.
Recent solo exhibitions include Disrupting Craft: Renwick Invitational 2018 at the Smithsonian American Art Museum, Washington D.C. (currently on view) and Craft and Care at the Museum of Arts and Design, New York. Aguiñiga is a United States Artists Target Fellow in the field of Crafts and Traditional Arts, a NALAC and Creative Capital Grant Awardee. She has been the subject of a cover article for American Craft Magazine and has been featured in PBS’s Craft in America Series. Aguiñiga is the founder and director of AMBOS (Art Made Between Opposite Sides), an ongoing series of artist interventions and commuter collaborations that address bi-national transition and identity in the US/Mexico border regions. AMBOS seeks to create a greater sense of interconnectedness while simultaneously documenting the border. Aguiñiga is the inaugural fellow for Americans for the Arts Johnson Fellowship for Artists Transforming Communities. The award supported her creative work in communities over 2018.
Holland Andrews is an American vocalist, composer, and performer whose work is based on emotionality and its many forms. In his composition work, Andrews focuses on the abstraction of operatic and extended-technique voice to build soundscapes encompassing both catharsis and dissonance. Frequently highlighting themes surrounding vulnerability and healing, Andrews arranges music with voice and clarinet, harnessing the innate qualities of the instruments’ elegance and power. As a musician, their influences stem from a dynamic range of musician whose influences include contemporary opera, musical theater, as well as ambient and noise music. Andrews performs under the stage name, Like a Villain. In addition to creating solo work, Andrews develops and performs soundscapes for dance, theater, and film artists, and whose work is still toured nationally and internationally. Andrews has gained recognition from publications such as The New York Times, Le Monde, La Republica, Business Times, and more. Holland Andrews is currently based in Portland, Oregon.
Julia Bogany is a member of the Tongva tribe, is on their Tribal Council, and is their Cultural Consultant. Julia constantly, incessantly, voluntarily teaches, attends meetings, and sits on Board to help her tribe; she usually does this without pay. Her calendar is full a year ahead of time. She has worked for over thirty years for the American Indian community for her Tongva tribe. She has provided cultural, FASD, ICWA, training and workshops in Los Angeles San Bernardino, and Riverside areas, She has also provided workshops in Sacramento for the California Rural Indian Health Board Woman’s conferences. Ms. Bogany attended a SAMHSA FASD Center for Excellence training in 2005 and has provided FASD classes since then. She has years of training in Child Development, Indian Child Welfare (ICWA), and Native American Studies. She is a strong advocate for ICWA and Fetal Alcohol Spectrum Disorders. She is fluent in English and Spanish.
Tania Candiani (b. 1974) is interested in the complex intersection between language systems, sound, and logics of technology. There is some nostalgia for the obsolete in her work, which seeks to make explicit both the discursive content of artifacts, and projections for the future envisioned in the past. Her translation processes between sound, words, patterns, and machines create discursive associations and reveal logics of thinking. Some of her early works took advantage of the language of embroidery to challenge stereotypical images of gender (Gordas, 2002), subverting notions of power within the private and public spheres (Kaunas Graffiti, 2009), or to rekindle what seemed to be lifeless or submissive (La Constancia dormida, 2006). Likewise, her work with embroidery proposes a new insight into the architectural representation of space (From Floor Plans to Confection Patterns: Apartment Houses in New York City, 1900–1914, 2010). As such, her work established a relationship with architecture that would have consequences later in her career.
Carolina Caycedo (b. 1978) was born in London to Colombian parents. She transcends institutional spaces to work in the social realm, where she participates in movements of territorial resistance, solidarity economies, and housing as a human right. Carolina’s artistic practice has a collective dimension to it in which performances, drawings, photographs and videos are not just an end result, but rather part of the artist’s process of research and acting. Through work that investigates relationships of movement, assimilation and resistance, representation and control, she addresses contexts, groups and communities that are affected by developmental projects, like the constructions of dams, the privatization of water, and its consequences on riverside communities. She has developed publicly engaged projects in Bogota, Quezon City, Toronto, Madrid, Sao Paulo, Lisbon, San Juan, New York, San Francisco, Paris, Mexico DF, Tijuana, and London. Her work has been exhibited worldwide with solo shows at Vienna Secession, Intermediae-Matadero Madrid, Agnes B Gallery Paris, Alianza Francesa Bogotá, Hordaland Kunstsenter Bergen, 18th Street Arts Center in Santa Monica, and DAAD Gallery in Berlin. She has participated in international biennials including Sao Paulo (2016), Berlin (2014), Paris Triennial (2013), New Museum (2011), Havana (2009), Whitney (2006), Venice (2003) and Istanbul (2001). In 2012, Caycedo was a DAAD Artist-in-Berlin resident. She has received funding from Creative Capital, California Community Foundation, Los Angeles Department of Cultural Affairs, Harpo Foundation, Art Matters, Colombian Culture Ministry, Arts Council UK, and Prince Claus Fund. She lives and works in Los Angeles.
Patrisse Cullors (b. 1984). Artist, organizer, educator, and popular public speaker, Patrisse Cullors is a Los Angeles native and Co-Founder of the Black Lives Matter Global Network and Founder of grassroots Los Angeles based organization Dignity and Power Now. In 2013, Patrisse co-founded the global movement with the viral twitter hashtag #BlackLivesMatter which has since grown to an international organization with dozens of chapters around the world fighting anti-Black racism. In January 2016 Patrisse Cullors published her memoir, When They Call You a Terrorist: A Black Lives Matter Memoir. Her memoir became an instant New York Times Bestseller. Patrisse has been honored with various awards including: The Sydney Peace Prize Award (2017), Black Woman of the Year Award (2015) from The National Congress of Black Women, Civil Rights Leader for the 21st Century Award (2015) from the Los Angeles Times, Community Change Agent Award (2016) from BLACK GIRLS ROCK!, Inc., Women of the Year Award for the Justice Seekers Award (2016) from Glamour, and ESSENCE’ first-ever Woke Award. Patrisse is currently an 2019 MFA candidate at the University of Southern California.
Demian DinéYazhi’ (b. 1983) is an Indigenous Diné transdisciplinary artist born to the clans Naasht’ézhí Táb??há (Zuni Clan Water’s Edge) and Tódích’íí’nii (Bitter Water). Growing up in the colonized border town of Gallup, New Mexico, the evolution of DinéYazhi ?’s work has been influenced by their ancestral ties to traditional Diné culture, ceremony, matrilineal upbringing, the sacredness of land, and the importance of intergenerational knowledge. Through research, mining community archives, and social collaboration, DinéYazhi ? highlights the intersections of Radical Indigenous Queer Feminist identity and political ideology while challenging the white noise of contemporary art. They have recently exhibited at Whitney Museum of American Art (2018), Henry Art Gallery (2018), Pioneer Works (2018), CANADA, NY (2017); and Cooley Art Gallery (2017). DinéYazhi ? is the founder of the Indigenous artist/activist initiative, R.I.S.E.: Radical Indigenous Survivance & Empowerment. DinéYazhi ? also serves as co-editor of Locusts: A Post-Queer Nation Zine. They are the recipient of the Henry Art Museum’s Brink Award (2017), Hallie Ford Fellow in the Visual Arts (2018), and Eiteljorg Contemporary Art Fellow (2019).
East Yard Communities for Environmental Justice (EYCEJ) is a community-based organization that works to facilitate self-advocates in East Los Angeles, Southeast Los Angeles and Long Beach. By providing workshops & trainings, EYCEJ prepares community members to engage in the decision-making processes that directly impact their health and quality of life.
Mercedes Dorame, born in Los Angeles, California, received her MFA from the San Francisco Art Institute and her undergraduate degree from UCLA. She calls on her Tongva ancestry to engage the problematics of visibility and ideas of cultural construction. Dorame’s work is in the permanent collections of the Hammer Museum, San Francisco Museum of Modern Art, the Triton Museum, the Allen Memorial ArtMuseum, the de Saisset Museum, The Montblanc Foundation Collection, and the Phoebe A. Hearst Museum.
She is the recipient of grants and fellowships from: the Montblanc Art Commission, the New York Foundation for the Arts, Loop Artist Residency, the James Phelan Award for California born visual artists, En Foco’s New Works Photography Fellowship Awards program, Galería de la Raza, for her solo exhibition there, the Harpo Foundation for a residency at the Vermont Studio Center and from the Photography Department at the San Francisco Art Institute for her MFA Studies. She was recently part of the Hammer Museum’s 2018 Made in LA exhibition and has upcoming shows at the Triton Museum, the deSaisset, LACE and Reflect Space, and has shown her work internationally. Her writing has been featured in News From Native California and her artwork has been highlighted by PBS Newshour, KCET Artbound, the New York Times, Art in America, Hyperallergic, KQED, Artsy, ARTnews, the Los Angeles Times, the SF Chronicle, among others.
Jorge González (1981) lives and works in San Juan, Puerto Rico. He received his BFA from the Puerto Rico School of Visual Arts in 2006. From 2012-2014, he was part of La Práctica, Beta Local, a program that accompanied González process, which forged pedagogical connections present in his practice. In 2017, González was awarded the Davidoff Arts Initiative grant, to be part of Escuela Flora, FLORA ars+natura, a pedagogical program, in Bogotá, Colombia. González has exhibited internationally including What kind of a Celebration?, Osnabrück, Germany (2015), curated by Julia Draganovic and Pablo Helguera; SITELines: much wider than a line, the 2016 SITE Santa Fe Biennial. In 2017, Gonzalez also participated in documenta, Kassel 14 in a program hosted by ifa (Institut für Auslandsbeziehungen) entitled Under the Mango Tree: Ulterior Sites of Learning, a gathering and publication that addressed new sites for learning. Most recently (2018) he was included in Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art at The Whitney Museum curated by Marcella Guerrero.
Mónica Rodríguez’s (b.1980) work looks to the history of American Imperialism and its colonial impact on the politic, economic and social conditions of the Caribbean. Recent work has been presented in exhibitions at Sagrada Mercancia, Santiago, Chile; Glass Curtain Gallery, Columbia College, Chicago; Los Angeles Municipal Art Gallery, California; 19th Contemporary Art Festival Videobrasil, Sao Paulo, Brazil; la ene, Buenos Aires, Argentina; pact Zollverein, Essen, Germany among others. She received a BFA from the Escuela de Artes Plásticas y Diseño de Puerto Rico in 2005, an MFA from the California Institute of the Arts, Valencia, CA in 2011 and attended the Whitney Independent Study Program in 2012-13. In 2013 she was invited to La Practica, a nine-month residency program at Beta-Local, San Juan, PR. Rodriguez currently lives and works in Los Angeles, CA.
Harry Gamboa Jr. is an artist, writer, and educator. He is the founder and director of the international performance troupe, Virtual Vérité (2005-2017). He is also a co-founder of Asco (1972-1985), the Los Angeles-based performance group. His work has been exhibited nationally/internationally: Autry Museum of the American West, Los Angeles (2017); Marlborough Contemporary, New York (2017); Whitney Museum of American Art, New York (2016, 2015 and 1995 Biennial); Utah Museum of Fine Arts (2015); Princeton University Art Museum (2015); Centre d’Arts Plastiques Contemporain Bordeaux, France (2014); De Appel, Amsterdam (2014); Triangle France, Marseille, France (2014); Smart Museum of Art, Chicago (2014); Lentos Kunstmuseum Linz, Linz, Austria (2013); Nottingham Contemporary, Nottingham, England (2013); Smithsonian American Art Museum, Washington D.C. (2013); Le Musée d’Art Contemporain, Marseille, France (2013, 2017); Museo Universitario Arte Contemporáneo (UNAM), Mexico City (2013); Tate Liverpool, Liverpool, England (2013); The Bronx Museum of the Arts, Bronx, New York (2013); UC Berkeley Art Museum and Pacific Rim Film Archive (2012); Museo del Palacio de Bellas Artes, Mexico City (2011, 1981); Museum of Contemporary Art, Los Angeles (2011, 2010); Musée de l’Élysée, Lausanne, Switzerland (2009); Orange County Museum of Art, Newport Beach, CA (2011); Whitworth Art Gallery, Manchester, England (2009); Museo de Arte Zapopan, Guadalajara, Mexico (2009); Los Angeles County Museum of Art (2011, 2008, 2001); Fowler Museum, UC Los Angeles (2011); Museo Tamayo Arte Contemporaneo, Mexico City (2008); Japanese American National Museum, Los Angeles (2008); El Museo del Barrio, New York (2008, 2010); The Huntington Library, San Marino, California (2008); Museo José Luis Cuevas, Mexico City (2006); Centre Pompidou, Paris, France (2006); Museo Nacional de la Estampa, Mexico City (2005); International Center of Photography, New York (2003); MIT List Visual Arts Center (2000); Queens Museum of Art (1999); Smithsonian Institution, Washington D.C. (1997); Statens Museum for Kunst, Copenhagen, Denmark (1996); Museum of Modern Art, New York, NY (1994); Getty Research Institute, Los Angeles (1994); LAX/CSU Los Angeles (1994); Museo del Palacio de Bellas Artes, Mexico City (1981); Museum of Contemporary Art, Chicago (1979); Museo de Arte Moderno, Mexico City (1978); Museo Alvar y Carmen T. Carrillo Gil, Mexico City (1978); Tucson Museum of Art, Tucson, AZ (1977).
Jeannette Ehlers is a Copenhagen-based artist of Danish and Trinidadian descent whose practice takes shape experimentally across photography, video, installation, sculpture and performance. She graduated from The Royal Danish Academy of Fine Arts in 2006. Ehlers’ work often makes use of self-representation and image manipulation to bring about decolonial hauntings and disruptions. These manifestations attend to the material and affective afterlives of Denmark’s colonial impact in the Caribbean and participation in the Transatlantic Slave Trade—realities that have all too often been rendered forgettable by dominant history-writing. In the words of author Lesley-Ann Brown, “Ehlers reminds all who participate in or gaze at her work that history is not in the past.” Ehlers insists on the possibility for empowerment and healing in her art, honoring legacies of resistance in the African diaspora. She merges the historical, the collective and the rebellious with the familial, the bodily and the poetic. On 31 March 2018 she unveiled I Am Queen Mary, a public sculpture project in collaboration with La Vaughn Belle, KAS, Cph, DK. Ehlers has exhibited at The Finnish Museum of Photography, Helsinki, FI, Canton Gallery, Guangzhou, CN, CareOf, Milan IT, Frost Art Museum, Miami, US, CAMP, Copenhagen, DK, Wallach Art Gallery, NYC,USA, AROS, Aarhus, DK, MOLAA, Los Angeles, USA, The Black Diamond, Copenhagen, Denmark, International Slavery Museum, Liverpool, UK, 21c Museum Hotels, Louisville, Kentucky, US, Reykjavik Art Museum, IS.
Arshia Fatima Haq works across various mediums, including film, visual art, performance and sound and is currently exploring themes of embodiment and mysticism particularly within the Islamic Sufi context. She is the founder of Discostan, a collaborative decolonial project working with cultural production from the Middle East, North Africa and South Asia. Narrative threads include migration, celebration, warfare, nostalgia, homeland, and borders, often within realms of Islamic influence, through lenses of traditional forms and kaleidoscopic reinventions of pop culture. Haq’s work has been featured at the Broad Museum, Toronto International Film Festival, MOMA New York, Hammer Museum, LAX Art, UC Irvine’s Global Visions Program, Centre Georges Pompidou, and the Pacific Film
Archive, and she was selected as a cultural programmer for the Los Angeles Islam Arts Initiative. She is a recipient of the California Community Foundation Visual Artist Fellowship, the Rema Hort Mann Emerging Artist Grant, the Onassis Foundation’s Artist In Residence Grant, and the AIR New Voices Scholarship. Currently, she hosts and produces monthly radio shows on Dublab and NTS featuring contemporary, traditional, and nostalgic music from across the SWANA region, and she recently released an album of Sufi field recordings from Pakistan on the Sublime Frequencies label.
Sky Hopinka (Ho-Chunk/Pechanga) was born and raised in Ferndale, Washington and spent several years in Palm Springs and Riverside, California, Portland, Oregon, Milwaukee, WI, and is currently based out of Cambridge, Massachusetts. In Portland, he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture, and the play between the known and the unknowable. He received his BA from Portland State University in Liberal Arts and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee. He is currently a fellow at the Radcliffe Institute for Advanced Study at Harvard University and Sundance Art of Nonfiction Fellow for 2019. His work has played at various festivals including ImagineNATIVE Media + Arts Festival, Images, Wavelengths, Ann Arbor Film Festival, Sundance, Antimatter, Chicago Underground Film Festival, FLEXfest, and Projections. His work was a part of the 2016 Wisconsin Triennial and the 2017 Whitney Biennial. He was awarded jury prizes at the Onion City Film Festival, the More with Less Award at the 2016 Images Festival, the Tom Berman Award for Most Promising Filmmaker at the 54th Ann Arbor Film Festival, the New Cinema Award at the Berwick Film and Media Arts Festival and the Mary L. Nohl Fund Fellowship for Individual Artists in the Emerging artist category for 2018.
Israel Martínez (Guadalajara, Mexico, 1979) is an artist who works from sound to different media such as video, photography, text, publications, installation, actions and interventions in public spaces, with the aim of generating diverse social and political reflections in a critical way, and often exploring the stealth as a pertinent communicational tool. Creditor in 2007 of a Distinction Award in Prix Ars Electronica, and winner of CTM Radio Lab Call 2019 in Berlin, has exhibited individually and collectively in MACBA, MuseumsQuartier, Moscow Biennial, daadgalerie, Haus fur elektronische Kunste Basel, LACE, Mission Cultural Center for Latino Arts, MUAC, Museo Universitario del Chopo, Museo Arte Carrillo Gil, MAZ, among other museums or spaces mainly in Europe and Mexico. In 2012 and 2017 he has been part of the Artists in Berlin Program from DAAD, and in 2014 of the MuseumsQuartier’s residence program in Vienna. He has published recordings and editorial work through Sub Rosa, Errant Bodies Press, Aagoo, The Wire, Hatje Cantz; and is co-founder of the record labels and collectives Abolipop and Suplex. He is currently a member of the National System of Art Creators in Mexico.
Sayak Valencia (Tijuana, 1980). Poet, essayist, and performance artist, Valencia holds a PhD in Philosophy, Feminist Theory and Critical Studies at the Universidad Complutense in Madrid. She is Professor and Researcher at the Department of Cultural Studies at El Colegio de la Frontera Norte. Her work addresses Capitalism Gore, Transfeminism, Chicana Feminism, Post-colonial Feminist Stories, Queer Art and Theory and she extensively has given conferences and seminars about these issues in America and Europe. Her publications include Gore Capitalism, MIT/Semiotext(e), 2018), Capitalismo Gore (Paidós, 2016 y Melusina, Barcelona, 2010), Adrift’s Book (Aristas Martínez, Badajoz, 2012), El reverso exacto del text (Centaurea Nigra Ediciones, Madrid 2007), Jeeves Fausto (Ediciones de la Esquina / Anortecer, Tijuana 2004) among many academic articles, essays, and poems published in magazines in Argentina, Brasil, Colombia, Chile, México, España, Alemania, Francia, Polonia, and the United States.
Kim Zumpfe is an artist and educator who lives and works in Los Angeles. Through individual and collaborative work, the built environment is resituated as a way to address the deep entwinement between materials, space, and sociality as models of relations. Primarily working in installation, Alternate possibilities in the order of things are considered through working with architectures and infrastructures that engage with space as a psychology and qualities of bent time(s). Zumpfe’s work has been exhibited at CSUF Grand Central Art Center, Diverseworks Houston, Audain Gallery Vancouver, Museum of Contemporary Art San Diego, Hammer Museum, Human Resources Los Angeles, Los Angeles Contemporary Archive (LACA), UCR Culver Center for the Arts Riverside, Torrance Art Museum, and several public and online sites.
This exhibition is a part of the Se habla español program at LACE. To view more bilingual projects, click here.