Graciela Iturbide captures Rosario and her baby, Boo Boo, in the backseat of a 1970s Chevy Impala. Rosario signals to a friend as she prepares to feed her crying baby. Despite Boo Boo's tears, she maintains her composure; her movements are calm, almost ritualistic. The car becomes an extension of the domestic space, a site where care unfolds amid the texture of everyday life. As Alfonso Morales Carillo notes in White Fence Revisited, "Like the master bed in the apartment on Pomeroy Avenue, the interior of that vehicle was spacious enough for Rosario to tend to Boo Boo's needs and for Cristina to apply her eyeliner." This series foregrounds women’s strength and matrilineal bonds, questioning patriarchal family models. It explores complex identity formations and the collective connections of border communities, employing a visual language that transforms conventions of studio portraiture.