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Mujer del Istmo peinando a Isabel Villaseñor (Woman of the isthmus combing Isabel Villaseñor's hair), 1933

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Mujer del Istmo peinando a Isabel Villaseñor (Woman of the isthmus combing Isabel Villaseñor's hair), 1933

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Manuel Álvarez Bravo.
Gelatin silver print.
8 5/8 × 7 9/16 in.(21.9 × 19.2 cm.)
-This photograph, taken by Manuel Álvarez Bravo, depicts fellow Mexican artist, Isabel Villaseñor getting her hair brushed by an Indigenous woman of the isthmus of Tehuantepec. Villaseñor's features and posing contrast with that of the unnamed woman; her long, dark hair against her fair skin, the gaze of the indigenous woman on Villaseñor, Villaseñor aloofly looking away-- all contribute to the feeling and themes of racial hierarchy in this image. The bodies are used to juxtapose each other, highlighting inequalities within shared cultures.

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Unos cuantos piquetitos (A few small nips), 1935

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Unos cuantos piquetitos (A few small nips), 1935

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Frida Kahlo.
Oil on metal.
11.8 in x 15.7 in. (30 x 40 cm.)
- This painting by Kahlo depicts a gruesome and murderous scene between two lovers. the woman's body, visibly tortured and mutilated, contrasts with the man's stiffness and slight smile.This depiction of the female body suggests an endless and excruciating pain at the hands of man. The body, serving as a form of relief for men.

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Frida Kahlo.
Oil on Masonite.
15.7 in × 12.0 in (39.8 cm × 30.6 cm.)
-Frida Kahlo depicts pure agony and pain in this painting through her portrayal of her own body. Her features, usually proudly on display and decorated, are stripped back in this painting; her eyes, usually intensely gazing at the viewer, look at us in tears, begging for help from the discomfort that is her own body. The female body in this image is completely subverted from the male gaze; nowhere is she sexualized or fetishized; instead she is a site of personal turmoil.

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Ana Mendieta.
Pigmented inkjet prints, four parts. 13 1/4 x 20 inches (33.7 x 50.8 cm); eight parts, 20 x 13 1/4 inches (50.8 x 33.7 cm)
-The Silueta series plays with the idea of femininity, commodification, and gender. Mendieta created a body of work that depicts the female body, stripped down to it's "essence," as a silhouette; placed throughout nature in various methods. The body feels both impermanent and permanent; one with the earth and land, yet still somehow temporary and "man-made." The body in these works is a site that takes up space in complex ways; as if Mendieta was highlighting the complexities of womanhood, she becomes everything and nothing all at once.

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Las Tres Marías (The Three Marías), 1976

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Las Tres Marías (The Three Marías), 1976

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Judith F. Baca.
Colored pencil on paper mounted on panel with upholstery backing and mirror.
68 ¹⁄₄ x 50 ¹⁄₄ x 2 ¹⁄₄ in. (173.4 x 127.6 x 5.7 cm.)
- this piece by Judith Baca forces the view to confront gender, culture, and race. Baca draws two caricatures of Chicana women; on the left is the 1970s chola and the 1940s Pachuca. In the center is a mirror allowing the viewer to be represented along with these two other forms. The body is used in this piece to question gender identity and its representation in society through both the portrayal and performance of female identity.

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11 de marzo—ritual a la menstruación, digno de toda mujer como antecedente del origen de la vida (March 11—ritual in honor of menstruation, worthy of every woman as a precursor to the origin of life), 1981

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11 de marzo—ritual a la menstruación, digno de toda mujer como antecedente del origen de la vida (March 11—ritual in honor of menstruation, worthy of every woman as a precursor to the origin of life), 1981

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María Evelia Marmolejo.
Nine black-and-white photographs.
Five sheets: 11 3/4 × 8 1/4 in. (29.8 × 21 cm); four sheets: 8 1/4 × 11 3/4 in. (21 × 29.8 cm).
-María Evelia Marmolejo uses her own body in this performance that comments on gender. Her entire body, but her genitals, are covered in sanitary napkins; her menstrual blood dripping on the floor as she continues a ritualistic performance. In this work the taboo-ness of female body and it's functions are celebrated, not shunned away. Marmolejo rejoices in femininity and centers it; regarding it in this performance as the center of all life.

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Los espejismos de Mandrágora Luna (Mandrágora Luna's phantoms), 1986

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Los espejismos de Mandrágora Luna (Mandrágora Luna's phantoms), 1986

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Poli Marichal.
Super 8mm film transferred to DVD, black and white with hand coloring, sound.
13:20 min.

- Poli Marichal portrays motherhood through a complex and psychoanalytical lens in this film. Postpartum depression, anxiety, and paranoia are depicted through the physical barriers the mother in the film's body endures. The body is used in this film to dismantle taboos around motherhood and create discourse around the topics surrounding it. Ideas of what it means to be a good mother vs a bad mother are explored through the body's transformation in this film.

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Nao Bustamante.
The Women's Building, San Francisco, California.
- In this performance Nao Bustamante challenges white male audience members to take a bite of a burrito that was strapped to her hips, "to exercise their guilt from 500 years of oppression." Her body is used both as a spectacle; adorned in a feather headpiece and leather gloves, and a political playground; forcing the oppressors to bow down and "humiliate" themselves. Bustamante comments on gender, race and class, encouraging female dominance and male subordination.

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Untitled (A Correct Chart of Hispaniola with the Windward Passage), 2020

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Untitled (A Correct Chart of Hispaniola with the Windward Passage), 2020

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Firelei Báez.
Oil and acrylic on archival printed canvas.
104 1/4 x 122 3/4 in. (264.8 x 311.8 cm.)
- The depiction of the female body in this work acts as a way to reclaim land and culture. The female figure in this piece, quite literally towers and casts shadows over a Eurocentric map of Hispaniola. The figure, full of life and color contrasts heavily with the map, questioning which truly depicts the land and culture accurately.