Remixing and reexamining art of and after the Chicano movement of the 1960s and 1970s, this book brings to light new insights about artists, their cultural production, and the exhibitions that feature their work, but also collectors, curators, critics, and advocates. Using an interdisciplinary method that combines decolonial and feminist theory, art historical analysis, and extensive archival and field research, Karen Mary Davalos explores how narrow notions of identity, politics, and aesthetics have limited debates over Chicana/o art. This comprehensive art history employs vernacular concepts, such as the errata exhibition and the remix, which emerge out of art practice itself, to drive the analysis of over three dozen artists. It rejects familiar narratives that evaluate Chicana/o art in binary terms: political versus commercial, realist versus conceptual, and so on. Each chapter explores undocumented or previously ignored information, such as European aesthetic influences on Chicana/o art or commercial ventures of community-based arts organizations, which are made invisible by conventions of art history or Chicana/o studies. The book illuminates the transnational, borderlands, feminist, and decolonial aesthetic processes and social conditions that expand, not contract, how we consider Chicana/o art. Davalos presents her most ambitious project to date in this examination of fifty years of Chicana/o art production in a major metropolitan area.