The Sites of Chicana/o Art Discourse
This chapter explores the errata exhibition, a show that counters a mainstream presentation of art. With the appearance of the errata exhibition in 1975, Chicana feminist artists leveraged institutional critique against both mainstream arts institutions and community-based practices that ignored or narrowly interpreted their work. These artists, including Judy Baca, Barbara Carrasco, and Judithe Hernández, introduced an alternative analysis of Chicana/o art, illuminating the complexity, multiplicity, and generative qualities of their cultural production. The chapter argues that errata exhibitions are undocumented sites of critical borderlands discourse with which art historians, curators, and critics must engage to remain relevant.
Keywords: errata exhibition, borderlands theory, institutional critique, Chicana feminist theory, postethnic art, Las Venas de la Mujer, Other Footprints to Aztlan: Works from the Collection of Mary and Armando Durón, Phantom Sightings: Art after the Chicano Movement, The Road to Aztlan: Art from a Mythic Homeland, Vaguely Chicana
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