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Maria Izquierdo, 1943, "Paint the Revolution: Mexican Modernism, 1910'-1950" at Philadelphia Museum of Art.

Izquierdo's Our Lady of Sorrows combines colorful artistic styles of Mayan art with themes of post-colonial Mexico and Catholic imagery, an important contribution to Mexican modernism. The imagery of the crying Virgen, contrasted with the bright surroundings of flags, fruit and themes of celebration, provides a look into the artist's complex relationship with the role of women in society. Though Izquierdo was not a devout feminist, she expresses themes of female oppression through religion and society in her work, which layers the themes of feminism in the history of Latin American art.

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Frida Kahlo, 1946, 1'0" x 0'9", oil on canvas.

Frida Kahlo's The Wounded Deer features an image of the artist as a deer, wounded by bows in the forest, a reference to the disability she suffered after a bus accident. This painting is important to the history of feminism in Latin American art because Kahlo channels, and copes with, the physical pain of her disability, as well as the fragility she felt, through art, an aspect of feminism which is not often discussed. Kahlo's personal life is important to the history of Latin American art, specifically feminist art because she allowed her work and talent to speak for itself, despite the tragedy she suffered in her life, as well as her relationship with muralist Diego Rivera. Her work informs the history of Latin American art due to it's combination of surrealist imagery with self-portraiture, and the complex theme of the "othering" of oneself.

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Zilia Sanchez, 1970, El Museo del Barrio.

Zilia Sanchez' work Antigona combines intersectional themes of race, gender and relation to the state. Inspired by the relation of Cuban exiles and Puerto Rican citizens to the states from which they have been removed, Sanchez draws upon the Greek story of Antigone, a woman exiled from her homeland due to her loyalties to family. This work layers the history of Latin American art because it acknowledges the complicated themes of political repression, activism and resilience against oppressive governments. Sanchez' work is also deeply connected to the feminist movement because of the use of images resembling the female body as landscape, which intersects with state violence often in history.

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Beatriz Gonzalez, 1976, Hammer Museum.

Beatriz Gonzalez appropriates the image of Botticelli's Birth of Venus on the textile piece Botticelli Wash and Wear. Gonzalez combines the domestic with images from the Italian Renaissance, providing a cross-cultural commentary on the complex representations of women in art. Her art is important to the history of Latinx art because, as the grew up during the time of La Violencia, a political upheaval in Colombia, she began to channel themes of political suppression into her art, using a style inspired by pop-art.

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Sylvia Palacios Whitman, 1977.

Palacios-Whitman's performance piece Passing Through, Sonnabend Gallery, gives a unique look into the concept of taking space in the art world as a Latin-American woman. Though she does physically take space with the Green Hands, Palacios-Whitman also allows her work to "speak for itself," and create its own space as she has stated, an important aspect of feminist art. Palacios-Whitman's work adds to the history of Latin-American art because of her contributions to performance art as a whole, as well as the empowerment that can be found in humor and dance. The importance of her space as a performance artist in the 70s, when the scene of New York City was mostly male-dominated can also not be overstated.

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Yolanda Lopez, 1978.

In Tableaux Vivant, Yoland Lopez places herself candidly amongst the backdrop of La Virgen De Guadalupe, surrounded by items of female empowerment, such as the Wonder Woman comic. These conceptual images represent the 'average' woman in her natural state, exalted as an icon, making a strong feminist statement about the ways in which women have been represented, both in art and religious iconography. This work is important to the history of Latin American art as a whole because it stresses the importance of women as art, as well as the rejection of Western standards of beauty which have been imposed on Latina women, especially within the art world.

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Me Gritaron Negra (They Shouted Black At Me)

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Me Gritaron Negra (They Shouted Black At Me)

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Victoria Santa Cruz, 1978.

Victoria Santa Cruz' recitation of the powerful poem Me Gritaron Negra (They Shouted Black At Me) is an important piece for intersectional feminism and Latin American art history. The piece acknowledges the complicated history of the Black experience in Latin America, and speaks from her own experience as an Afro-Peruvian woman and artist, having faced racial discrimination. This work is important to the development of Latin American art because it comes from the point of view of an Afro-Latina woman, a perspective often left out of the written histories and museum spaces.

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Every, from the series La Manzana de Adan (Adam's apple)

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Every, from the series La Manzana de Adan (Adam's apple)

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Paz Errazuriz, 1982-1990.

The series La Manzana de Adan (Adam's Apple) documents the lives of trans women under the Chilean dictatorship of the 80's and 90's. This work also explores the lives of sex workers, including trans sex workers, providing a unique intersectional point of view to the history of Latin American Feminist art. This piece is important to the context of Latin American art as a whole because it provides an important perspective of the daily lives of trans women living under oppressive military and government regimes in Latin America.

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No matar ni ver matar animales (Do not kill animals or watch them be killed); Te nace ahogado con el cordón (Your baby is born strangled by the umbilical cord); Muchas venganzas se satisfacen en el hijo de una persona odiada (The child of someone hated …)

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No matar ni ver matar animales (Do not kill animals or watch them be killed); Te nace ahogado con el cordón (Your baby is born strangled by the umbilical cord); Muchas venganzas se satisfacen en el hijo de una persona odiada (The child of someone hated …)

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Marta Maria Perez, 1985-1986, 9" x 11", gelatin prints.

Marta Maria Perez' work No matar ni ver matar animales (Do not kill animals or watch them be killed); Te nace ahogado con el cordón (Your baby is born strangled by the umbilical cord), follows second wave feminist art, which critically challenges the roles and perceptions of women's roles in society. The piece provides a look into the violence imposed on women, showing them in their most vulnerable states while pregnant, and holding knives near their stomachs. The shock value of this piece was intentional, and drew much needed attention to the violence being committed against women in Perez' native Cuba. This piece layers the history of Latin American art because it was a part of an important radical activist exhibit against government oppression at El Museo Del Barrio.

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Tapestry Tarsila do Amaral- Antropofagia

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Tapestry Tarsila do Amaral- Antropofagia

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Tarsila do Amaral, 2016.

Tarsila do Amaral's Antropofagia combines Brazilian modernist techniques with indigenous themes and imagery. The use of the body, specifically a Brown, female form, amongst the background of foliage is representative of the artists own struggle with identity in postwar Brazil. Her work is important to the layering of Latinx art because it deviates from the modernism movement of Brazil, to combine unique methods from the Anthropophagic movement. The work also fits into the feminist theme because of the discussion it contributes to regarding the place of a woman in the art world, whose art speaks for itself.