Mel Casas' "Humanscape" painting series shows the Chicano experience moving from the periphery of each composition to the center over the course of 150 paintings. Casas began the series in 1965 with "Humanscape 1" and ended with "Humanscape 150." With this series and other works, Casas hopes to make "Chicano art relevant to everyone."

“As in Humanscape 95: BIRD WATCHING ART, there no longer is a impenetrable border separating inside from outside. But, there are two perspectives. Casas, in his work never seems to abandon his perspective as a human being, artist, community member, and educator from Texas who is also a Chicano. In the 1991 exhibition catalogue to Chicano Art: Resistance and Affirmation (An Interpretive Exhibition of the Chicano Art Movement, 1965-1985), Casas states that the future of the Chicano Art Movement is to make ‘Chicano art relevant to EVERYONE: AN ICONIC REALITY.’ 5 The works in this exhibition demonstrate this goal. Casas visualizes his world with multiple perspectives, experiences, world-views, that are penetrated by one another. To view this exhibition is to see the efforts of a major American artist merging all parts of his self and that of his community into one ‘iconic reality’ without ever losing the many diverse perspectives by which we engage this society and our communities.” - Carlos Francisco Jackson, Mel Casas: The Permeable and Porous Borderlands, Iconic Reality

“Across from this painting is a similarly sized piece entitled Humanscape 95: Bird Watching Art. A pre-dawn blue background contrasts with stark black birds, and at the bottom there’s a text display: “Bird Watching Art.” The title and text work as a triple-play on words and the piece has a deft minimal symmetry to it; it recalls some of the covers to Robert Ashley albums on Lovely Music.” - Fauerso, Neil, “Mel Casas: Iconic Reality at Ruiz-Healy,” Glasstire