Gilbert "Magu" Lujan
Returning to Aztlan, 1983
Serigraph, Edition 16 of 200
26 x 38 in.

Returning to Aztlan (1983), an historic serigraph, is an intricately detailed map of Latin America. It includes animals, ancient structures, foliage, and two indigenous men driving a lowrider car, and speaks to the Chicano artist's preference for Latin traditions over Eurocentric aesthetic standards. Characteristically, Lujan is quoted saying: "Most people have a very stereotypic view and even to call us Hispanics makes me understand that they're not looking at me. That mold has never left the consciousness of English-speaking people, especially the Anglo."

One of the most iconic figures of the Chicano art movement and a founding member of the artists collective "Los Four," Gilbert "Magu" Lujan is known for his coloration and visual explorations of Chicano culture and community that drew upon and brought to life various historic and contemporary visual sources with startling results: pyramid-mounted lowriders driven by anthropomorphic creatures traversing a newly defined and mythologized LA. He was part of a small group of dedicated artists and intellectuals who set about defining a Chicano identity and culture as part of the Civil Rights movement of the 1960s. Lujan produced ambitious public art projects such as the Hollywood & Vine Metro station and exhibited prolifically in galleries and museums within the United States and abroad.

Yreina Cervantez
Victoria Ocelotl, 1983
Serigraph, Edition 34 of 77
34 x 22 in.

Yreina D. Cervantez, a Chicana artist, was born in 1952 in Garden City, Kansas, but grew up near San Diego, CA. She is an American painter, printmaker, muralist, and teacher. Yreina received her B.A. in Fine Arts from the University of California, Santa Cruz, and later went on to earn her Masters in Fine Arts from the University of California, Los Angeles in 1989. She is also currently the multicultural coordinator at the Los Angeles Municipal Art Gallery. Yreina's other areas of main interest are visual arts, Chicana/o Art, and Xicana feminist art and aesthetics. Yreina Cervantez is currently an Associate Professor of Chicano/a Studies at the California State University, Northridge. Drawing heavily from her cultural heritage, Yreina Cervantez has become prominent and well respected amongst other Chicana/o artists. She is particularly known for her various self-portraits of Chicana identity, as well as murals that depict struggles within the Chicano/a movement. Some of her most favorite artwork includes La Ofrenda, Homenaje a Frida Kahlo, and her 1995 Nepantla lithograph triptych. Yreina Cervantez has also been featured in art exhibitions, such as From El Corazon de East L.A , Just Another Poster?: Chicano Graphic Arts in California, and 30 Years of Chicano Printmaking & Social Justice.

Leo Limon
LA Ozone Burns II, 1987
Serigraph, Edition 35 of 45
13 x 28 in.

Leo Limon is an artist and community activist who lives and works in Los Angeles. During the early years of the Chicano art movement he was involved with Mechicano Art Center, Plaza de la Raza, and Centro de Arte Publico. Limon is widely recognized for his murals and prints, many created at Self Help Graphics and Art, where he helped develop the organization's annual Dia de los Muertos celebration and the Atelier printmaking program. He has worked tirelessly as a youth advocate who has reached thousands of at-risk Los Angeles youth using his art to intervene in the gang violence of Los Angeles..

Gronk
Dia de Los Muertos (10th Anniversary), 1982
Serigraph, Signed
28 x 22 in.

Los Angeles-based performance artist and painter Gronk is a contributing figure to the Chicano Art movement. As one of the founding members of the multimedia arts collective Asco, Gronk helped broadcast the political message and activist essence of the Chicano movement, which focused on community building and positive empowerment. Asco, which was active until the mid-1980s, consisted of Gronk, Harry Gamboa Jr., Willie Herron and Patssi Valdez; they created performances and conceptual art to question the lack of representation of Chicano art in major museums and media. As a painter, Gronk incorporates thick layers of paint and intense color to create dynamic, expressionistic imagery. La Tormenta, a strong femme fatale who is seen with her back towards the viewer in La Tormenta (1985), has been a recurring figure in Gronk's work since the 1980s. Gronk has created site-specific murals including Tormenta Cantata, Echoes from the Past (1996) at the Smithsonian American Art Museum and Post, Library: Muse (1995) at the San Jose Museum of Art.

Diane Gamboa
Lost and Found, 1990
Serigraph, Edition 18 of 49
30 x 34 in.

The image/artwork for this print was specifically designed for the Atelier 15 program. The original drawing was created directly onto the acetate with an inked brush and technical pen. Through a series of overlapping and underlapping the positive/acetate for each color, I continued to build texture and detail. The Little Gold Man himself is the focal point of the other figures in the piece, but at the same time is only one of the many figures involved in this print. As in all other prints I have created through the Atelier program.

Diane Gamboa (born 1957) has been producing, exhibiting and curating visual art in Southern California since the 1980s. She has also been involved art education, ranging from after-school programs to college and university teaching.[1] Gamboa has been "one of the most active cultural producers in the Chicana art movement in Los Angeles." In 1984 Gamboa received her degree from Otis College of Art and Design. She is a recipient of a California Community Foundation Individual Artist Grant, and her solo exhibitions include "Bruja-Ha" at Tropico de Nopal Gallery and "Chica Chic" at Patricia Correia Gallery in Santa Monica. Her work is included in Cheech Marin's personal collection of Chicano art and has been shown at the Los Angeles County Museum of Art and the Riverside Art Museum.

Larry Yanez
Para Karen: Cama in My House, 1999
Serigraph, Edition 12 of 72
32 x 27 in.

Larry Yanez uses humor and storytelling to present images of ordinary scenes through the lens of his multicultural heritage. Yanez pulls fragments of images from everyday life and childhood memories to reflect on the humor, fears, strange beliefs, and general misunderstandings of things he experienced as a Mexican growing up in the American Southwest.

Judy Baca
Absolutely Chicana, 2008
Serigraph, Edition 14 of 70
26 x 20 in.

Absolutely Chicana is a work about identity constructed to face a hostile environment for women and for Chicana's in the 1950's. It is derived from a photograph taken of Judy Baca in 1973 by Donna Deith for what was the first exclusively "Chicana" show in Los Angeles called 'Las Venas de la Mujer'. The image of Judy Baca as the 'Pachuca' was created as part of a performance in which she transformed herself into the Pachuca via a mirror on the vanity table. Behind the mirror was the Chican Triptych called the 'Tres Marias' now part of the Smithsonian Latino Treasures Collection. The image seems relevant again in the current climate of Chicana/o identity ambivalence.

Judy Baca is the founder/artistic director of SPARC: Social & Public Art Resource Center in Los Angeles. Best known for her large-scale public organizing murals, her art involves extensive community dialogues and participation. Baca founded the first City of Los Angeles mural program in 1974 and founded SPARC in 1976. Baca's signature piece is The Great Wall of Los Angeles, one of the city's true cultural landmarks and one of the country's most respected and largest monuments to interracial harmony produced with the participation with more than 400 inner-city youth, 40 ethnic historians, and hundreds of community residents.

In 1996, Baca created the UCLA/SPARC Cesar Chavez Digital/Mural Lab, a research, teaching, and production facility based at SPARC. She serves as a full professor in the UCLA Chicano Studies Department and World Arts and Cultures Department. She is currently working on the Cesar Chavez Memorial at San Jose State University; the Robert F. Kennedy monument at the Old Ambassador Hotel site, which will become the RFK Learning Center for K-12; the Martin Luther King Jr. memorial in San Diego; and a digital painted mural for the Richmond Arts Center.

Alma Lopez
Our Lady of Controversy, 2003
Serigraph, Edition 14 of 73
26 x 20 in.

Our Lady of Controversy is based on the 1999 digital print titled "Our Lady" that received international attention during an exhibition titled CyberArte: Tradition Meets Technology at the Museum of International Folk Art Museum in Santa Fe, New Mexico. The exhibition, curation by the Chicana/Nuevo Mexicana scholar/art historian Tey Marianna Nunn, was created as a bridge/dialogue between the traditional cultural Latina/o, Mexicana/o, Hispana/o iconography, and new technologies. The four women artists Marion Martinez, Teresa Archuleta, Elena Baca, and Alma Lopez were selected because they combined traditional cultural iconography and new media/technology in their art.

The controversy to remove/censor the digital print "Our Lady" began soon after the exhibition opened on February 25, 2001. The protest was led primarily by three men (Jose Villegas, Deacon Anthony Trujillo, and Archbishop Michael J. Sheehan). After several rallies, much media attention, a few meetings, and physical threats to the artist, the curator, and the museum, the work remained until the exhibition closed in October 2001. The work was not removed thanks to the support to the swell support from diverse communities of Latina/os, women, students, professors, anti-censorship organizations, and countless others as well as the exhibiting artists, the governor, and the New Mexico Museum. It was an incredibly complex and difficult situation.

"Our Lady of Controversy" is based on this controversy. The two images are relatively the same with the exception that in this new image the female figure is wearing boxing gloves. The boxing gloves are not meant to be an aggressive gesture, but an assertive one. The statement I hope to make is that we all have a right to express ourselves, and may need to be prepared to defend that right.

This image was particularly difficult and stressful to make and therefore I am grateful to have Self Help graphics as a supportive creative space. I especially want to acknowledge the support of Joe, the master printer; Amos and Victor, the artists/printer assistant; Tomas, the director; the Raqueles, the models, and Lizette, my darling." Alma Lopez is a visual artist and currently, a visiting lecturer at UCLA. Over the last two decades, Lopez's work has been exhibited in over one hundred national and international solo and group exhibitions. In 1999, UCLA's La Gente Newsmagazine dubbed Alma Lopez the Digital Diva for her groundbreaking photo-based digital series Lupe and Sirena. That series, and most of Lopez's visual work, raises questions about popular Mexican icons filtered through a radical Chicana feminist lesbian lens. One of those images, titled Our Lady is the subject of the book Our Lady of Controversy: Alma Lopez's "Irreverent Apparition," which Lopez co-edited with her spouse, Professor Alicia Gaspar de Alba, and published by the University of Texas Press in 2011.

Sonia Romero
Eat Your Poridge, 2005
Serigraph, Edition 8 of 69
26 x 20 in.

"Sonia Romero is a Los Angeles artist known for her paper-cut and printmaking aesthetics which she incorporates into both her fine art and public art commissions. Born in 1980, she grew up in an artistic household in Echo Park before formally studying at the Rhode Island School of Design. After returning to California, she began working as a public artist, and was the artist in residence at Avenue 50 Studio in Northeast Los Angeles from 2007-2014.

Calling upon her own experiences and perspectives as a multiracial person, Romero creates work that reflects the cultural diversity found in the communities of Los Angeles. She explores themes relating to the universal connectedness within humanity as well as its relationship to the environment. Her signature style, a dynamic combination of printmaking, paper-cutting, painting, and sculpture, includes fine art pieces that have been showcased in many galleries and acquired into the collections of prominent institutions such as the Los Angeles County Museum of Art and the Smithsonian. Her distinctive paper-cut shapes and patterns can be found in steel, tile, or paint in one of her many large-scale permanent installations in notable locations such as Little Tokyo, the Mariachi Plaza and MacArthur Park Metro Stations and the Artesia County Public Library."

Emilia Garcia
Mujer de Maiz, 2008
Serigraph, Edition 8 of 67
26 x 20 in.

My work is centered on the beauty of Chicana, Mexicana, Indigenious cultures, who we are and were we come from. I try to convey images that speak of cultural family traditions, political and social struggles, all the while focusing on the spirit of "La Mujer". Although my influence has been from the great Mexican Masters, my inspiration comes from my grandmother's love and her presence within me. It is through the closing of her eyes that she has opened my eyes to the reality of what I have become. "Emilia Garcia was born in Los Angeles, California. Her journey began on her grandparent's ranch in the small town of Piru, Ca. It was in Piru that her grandparents raised her while her parents worked to provide for the family. In 1996, it was her grandmother's death that drove her to leave the corporate world and immerse herself in her artwork.

As a Chicana, Emilia published a line of greeting cards focusing on the beauty and culture of her indigenous roots. Because of her success, she then turned her focus on her original pieces of work which have earned the attention of the international community and collectors nationwide. In 2004, she was nominated by the International Scientific Committee to exhibit her work in the 2005 Biennale of Contemporary Art in Florence, Italy. Since participating in the Biennale, she continues to exhibit her work throughout the U.S., and internationally, as a member of the International Biennale Artist Group. In 2007, she was commissioned to paint world renowned singer, Chavela Vargas, and personally presented the work to Chavela in her home in Tepoztlan, Morelos, Mexico. Emilia's work has been published in textbooks, featured in various periodicals, art books, and featured as cover artwork on several publications.
"

William Acedo
On Route to County, 2006
Serigraph, Edition 16 of 70
30 x 44 in.

"From my window, I saw a naked man walk fast across the First Street Bridge. A full moon rose over Boyle Heights ... "That man is on route to county; either jail or medical center." "William Acedo has lived and worked in downtown Los Angeles since 1988. He is currently a member of the Artists Roundtable at Self-Help Graphics, the leading non-profit visual arts center serving the Latino community of Los Angeles. While his subject matter is contemporary, his prints follow a long tradition of Latin American narrative woodcuts. There is a significant story behind most of these prints (happily provided on request).

Acedo first joined Self Help Graphics's "Los de Abajo" Print Collective. Besides printing at the workshop, he assists with the popular calavera paper-mache workshops and the annual Dia de los Muertos celebration.

His impressively detailed print, "On Route to County" gives an extraordinary view of Boyle Heights looking east across the First Street Bridge. It is a print that has brought Acedo a great deal of attention, and has been added to the permanent collections of the Los Angeles County Museum of Art, the San Antonio Museum of Art, the Denver Museum of Art and the Chicago Museum of Art. It is also in the private collection of Cheech Marin."

Miguel Angel Reyes
The Search, 2010
Multi-Media Monoprint Serigraph, Edition 1 of 1
26 x 20 in.

Miguel was born in 1964 in Colima, Mexico. He was drawn to art early in his life, and graduated from Otis Parsons School of Design in 1987 with a BFA in fine art. After a short sojourn into the fashion industry following graduation, Reyes pursued painting, and today makes his living doing portraits, teaching, illustrating books and taking on occasional public art project commissions.
Reyes' work incorporates expressionist brushwork and the saturated palette of the classic latin tradition. His art has been exhibited throughout the United States, and has been published many magazines. Miguel has created murals for the Los Angeles MTA, and his work is in the collections of LACMA print collections, Laguna Art Museum, Watts Towers Arts Center, University of Austin, TX, and Fine Arts gallery Museum, Chicago.

J. Leigh Garcia
April 5, 2018 (Utopia) & April 6, (Dystopia), 2019
Serigraph, Edition 8 & 8 of 60
15 x 11 in.

Although families have been separated at the border since mid-October of 2017, it wasn't until April 6, 2018 that General Jeff Sessions announced the Zero Tolerance Policy directing "federal prosecutors to criminally prosecute all adult migrants entering the country illegally." Because children cannot be held in a detention facility with their parents, the number of children separated fro parents skyrocketed to an estimated 2,000 children from April 19 to May 31. In June of 2018, a federal judge, Dana Sabraw, issues an injunction against the separations, and ordered the government to put the thousands of affected families back together. However, government data released in March of 2019 shows at least 245 family separations since the policy was halted in June 2018. "As a biracial Latina, a seventh-generation Texan of European descent on my mom's side, and a granddaughter of Mexican immigrants on my dad's, I have followed the roots of my own ancestry to shape my artistic practice. Major events in Texas history such as the Mexican-American War, Battle of the Alamo, Treaty of Guadalupe Hidalgo, and Bracero Program have created a complex relationship between my two cultures: Texans and Mexicans. The residual racial discord that has resulted from these historical moments-particularly, the racialization and displacement of unauthorized Latinx immigrants-is both the context and focus of my work. Through printmaking, papermaking, and installation art, I encourage awareness of our current immigration and foreign affairs policies through the lens of my biracial cultural identity.

J. Leigh Garcia is an artist born and raised in Dallas, TX. Garcia received a Master of Fine Arts degree from the University of Wisconsin-Madison, a Master of Arts degree from the University of Wisconsin-Madison, and a Bachelor of Fine Arts degree in printmaking from The University of North Texas. Garcia is currently a Print Media and Photography Professor at Kent State University in Kent, OH."

Shizu Saldamando
Una Cobija, 2010
Serigraph, Edition 14 of 69
20 x 26 in.

Shizu Saldamando was born and raised in San Francisco's Mission District, and currently lives and works in Los Angeles. She received her B.A. from UCLA's School of Arts and Architecture and her M.F.A. from California Institute of the Arts. Her drawings, paintings, sculptures, and videos have been exhibited both locally and internationally and experiment with a broad range of surfaces and materials. Saldmando's portraiture employs painting and drawing on canvas, wood, paper and cloth, and functions as homage, as well as documentation, of subcultures within and around the Los Angeles metropolitan area.

Miyo Stevens Gandara
Evergreen, 2021
Serigraph, Edition 14 of 75
22 x 30 in.

"My print for the 48th Self Help Graphics & Art Dia de los Muertos exhibition is titled "Evergreen", and depicts Evergreen Cemetery located in Boyle Heights at dusk. Dating from 1877, this cemetery is the oldest non-denominational cemetery in Los Angeles and is the location of some of the early Self Help Graphics & Art Día de los Muertos celebrations. I chose this location for several reasons: to acknowledge the important history of Self Help Graphics & Art, as a symbol of the multiethnic identity of Los Angeles, and also because of my own family history, as I have a great aunt Yukiko "Yuki" Nakamura buried there. There are other things that I was thinking about too- the "potter's field" located in Evergreen where unidentified people are cremated and buried in a single grave, the remains of the 174 Chinese people discovered while excavating the Gold Line, the ever-changing neighborhood surrounding the cemetery, and the natural tendency of the grounds within the cemetery to be dry and brown despite its name. I love this place, just as I do this city, for all its layered and complicated history and the stories it can tell us."

"Miyo Stevens-Gandara is a Los Angeles based artist working in a variety of media which include photography, drawing, embroidery, and various printmaking mediums. Her imagery explores issues of ancestry, migration, feminism, cultural identity, and environmental degradation.

She received her BFA from the California College of the Arts, and her MFA from the California Institute of the Arts. Miyo Stevens-Gandara has work in the collections of the Los Angeles County Museum of Art, Museum of Latin American Art (MoLAA) Riverside Art Museum, and various private collections. Her work has been exhibited in the U.S. and internationally.

Miyo has a strong commitment to her community as part of her art practice and has been involved in nonprofit arts outreach programs throughout her career. She currently teaches photography at Rio Hondo College. "

Pavel Acevedo
Turtle Land/ Tierra de Tortuga, 2021
Serigraph, Edition 12 of 16
40 x 30 in.

According to the Zapotec story, La Tortuga (the turtle) asked a vulture to carry him to meet the Gods. The vulture agreed, but the turtle consistently complained about the vulture's foul odor during the trip. Annoyed and tired from the turtle's comments, the vulture dropped the turtle from high above, causing the turtle's shell to break into a hundred pieces. The Gods felt pity for the turtle and mended the pieces with resin from the Tule tree, creating the mosaic-like shell we see today.

In this case, the image of the turtle symbolizes a compass, documenting the four cardinal directions, setting the tone for the exhibition. North is represented by feathered nahuales (mythical creatures half-human-half animal), pine needles, and the turtle's head peeking above ground. East and West are blanketed by foliage and water, while blue waves and aquatic nahuales surround the South.

From Oaxaca, Mexico, and moving to California in 2010, much of Acevedo's art incorporates themes and imagery depicting the migratory experience in California. As a relief printmaker, utilizing plywood and linoleum surfaces, he creates portraits of friends, the pre-hispanic codex, and other images that depict the diverse multitudes found in the city. Through the use of portraits and imagery, both new and old, he is able to invent a conversation that is neither Mexican nor American, but rather a contemporary reality that reflects his unique life.

Acevedo attended the School of Fine Arts Oaxaca (Escuela de Bellas Artes) and participated in different art workshops at the "Rufino Tamayo workshop." In 2010 he moved to California, where he continues to live and work today. Although his art has led him to many locations across the country, his studio, Urge Palette Art Supplies, is in Riverside, and he tends to create most of his art in East Los Angeles. Many of his pieces can be seen in murals and streets around Riverside, as well as in the Riverside Art Museum.

Frank Romero
Untitled, Pink City Hall, 2018
Serigraph
42 x 33 in.

"Throughout his 40 year career as an artist, Frank Romero has been a dedicated member of the Los Angeles arts community. As a member of the 1970s Chicano art collective, Los Four, Romero and fellow artists Carlos Almaraz, Beto de la Rocha and Gilbert Lujan, helped to define and promote the new awareness of La Raza through murals, publications and exhibitions. Los Four's historic 1974 exhibition at the Los Angeles County Museum of Art was the country's first show of Chicano art at a major art institution.

Since then, Romero has successfully balanced a career in both the public and private arenas. He has completed over 15 murals throughout Los Angeles, and was a key contributor to the 1984 Olympic Arts Festival with "Going to the Olympics," a large scale mural which adorned one of Los Angeles' busiest freeways (Highway 101). In 2012 he created a print of the same image, after the mural was painted over.

Romero has exhibited extensively in the United States, Europe and Japan. His work is featured in many permanent collections, including the National Museum of Art in Washington D.C., the Los Angeles County Museum of Art, and the Carnegie Museum in Oxnard, CA."

Jose Ramirez
Las Tias, 1999
Monoprint Serigraph, Ed. of 1
26 x 20 in.

"Jose Ramirez is an artist. In the past 30 years, he has illustrated children's books, painted murals and completed commissions for numerous organizations and individuals.

Ramirez is also an educator. He has taught in LAUSD for over 30 years (mostly 3rd grade) and is currently an Intervention Specialist at Esperanza Elementary in the Pico-Union neighborhood of Los Angeles.

He received a BFA (1990) and an MFA (1993) in art from UC Berkeley. In 1995, he received a California Teaching Credential from CSULA. In 2001, he received the California Community Foundation Visual Artist Fellowship.

He has worked with Altamed, National Immigration Law Center, Los Angeles Public Library, UCLA Center X, Childen's Institute, Trejo's Tacos, Glendale Community College, California Wellness Foundation, Inner City Struggle, Community Coalition and Self Help Graphics. His work was exhibited at the Mexican Cultural Institute in Washington DC, Plaza de la Raza, Avenue 50 Gallery in Highland Park and Homegirl Cafe; in Los Angeles. His paintings were featured on the CBS TV show, The Good Fight. He is currently working on a children's book titled 'Mi papa es un agricola/My Father is a Fieldworker'( Lil Libros) and a tile mural for the city of Los Angeles. "

Salomon Huerta
Maria Felix, 2000
Monoprint Serigraph, Ed. of 1
26 x 20 in.

Salomon Huerta is a painter based in California, born in Mexico. He grew up in the Boyle Heights Projects in East Los Angeles. Huerta obtained a Master of Fine Arts degree at UCLA in 1998. He gained critical acclaim and commercial attention in the late '90's for his minimalist portraits of the backs of people's heads and color saturated depictions of domestic urban architecture. He was included in the 2000 Whitney Biennial and has been featured in numerous exhibitions around the United States, Europe, and Latin America such as The Gagosian Gallery in London, England and Studio La Citta in Verona, Italy.

Yolanda Gonzalez
Maria Felix, 2001
Monoprint Serigraph, Ed. of 1
26 x 20 in.

"Yolanda Gonzalez was born into a family whose artistic heritage dates back to 1877. Her world is one of curiosity, demonstrating her love of people and their surroundings. Gonzalez's travels in different countries, the bonds forged with individuals in those places, and the resulting transformative experiences are reflected in her art and her life. She is known for her strong, bold brush strokes of color and texture, intent on evoking imagination and emotion.

Gonzalez studied at the Pasadena Art Center College of Design after winning a painting competition that awarded her a scholarship to the prestigious school. This led her to Self-Help Graphics, an involvement that lasted for years and resulted in her being sent to Spain and Scotland as a representative for exhibitions in those countries. Over the years, she has exhibited her works in solo and group exhibitions across the United States, throughout Europe, and in South Africa.

In 1998, she was an artist in residence in Ginza, Japan followed by a similar stint in Assisi, Italy during 1999. Among the many museums that have shown her work are the Armand Hammer Museum, The Geffen Contemporary at MOCA, the Japanese American National Museum and the Diego Rivera Museum in Mexico City. Throughout the years, Gonzalez has taught at Inner City Arts, Para Los Ninos, Plaza de La Raza, Crenshaw Christian Center, MOCA and AltaMed.

Gonzalez has participated in exhibitions in Russia, Japan, Scotland, France, Spain, Italy, Africa, Alaska and throughout the USA. Museums that have shown her work include The Musee d'Aquitaine, Bordeaux, France; San Diego Contemporary Museum, California, USA; Armand Hammer Museum, California, USA; Temporary Contemporary Museum; Japanese American National Museum, California, USA; Chicago Museum, IL, USA; Santa Monica Museum, California, USA; Laguna Art Museum, California, USA; Diego Rivera Museum; Latino Museum; Corpus Christi Museum, Texas, USA; Museum of Monterey, California, USA; and Snite Museum of Art, Indiana, USA."