"The US-Mexico border, as both a literal and figurative division, has long loomed large in the work of Chicanx and Latinx artists, such as Consuelo Jimenez Underwood, whom I profiled in Art in America’s annual 'Icons' issue. In it, Jimenez Underwood compared the wall to an oxymoron: 'It’s beautiful and positive, but there’s this harshness over it,' she said. 'It’s frightening to have your community affected by an arbitrary line. It damages a lot of people."
"This year also saw ambitious group exhibitions exploring the varied facets of Latinx life. The Cheech presented an updated iteration of Soy de Tejas: A Statewide Survey of Latinx Art, featuring disparate aesthetic approaches to art-making by Texan artists. And the McNay Art Museum had on view Rasquachismo: 35 Years of a Chicano Sensibility, organized by Mia Lopez, the museum’s first curator of Latinx art. That exhibition traced how generations of artists have remixed the aesthetic sensibility first coined by Tomás Ybarra-Frausto in 1989. Taken together, these exhibitions argue that there is no single aesthetic or theme to Latinx art."
- Maximilíano Durón
