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Chicana/o RemixArt and Errata Since the Sixties$
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Karen Mary Davalos

Print publication date: 2017

Print ISBN-13: 9781479877966

Published to NYU Press Scholarship Online: January 2018

DOI: 10.18574/nyu/9781479877966.001.0001

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PRINTED FROM NYU Press SCHOLARSHIP ONLINE (www.nyu.universitypressscholarship.com). (c) Copyright University of NYU Press Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NYSO for personal use.date: 15 October 2019

Conclusion

Conclusion

Chicana/o Day at the Museum

Chapter:
(p.213) 7 Conclusion
Source:
Chicana/o Remix
Author(s):

Karen Mary Davalos

Publisher:
NYU Press
DOI:10.18574/nyu/9781479877966.003.0007

The book closes with an experimental conclusion that retells three stories about Chicana/o art in Los Angeles and the ways that museum visitors and curators inhabit and reimagine mainstream institutions. Therefore, the last chapter embodies the methodology of the remix by favoring exploration and reconstruction, and thus refusing closure. More importantly, remixing is not simply a reordering of Chicana/o art but a rethinking of the conventions and norms that create its invisibility within American and Latin American art history. The three stories each convey how Chicana/o museum visitors and curators bring their transnational and transmodern interpretations of art, culture, and identity into sites of power. Their interpretations suggest that the future of art history depends upon an inclusive, expansive, and critical methodology in the study of art.

Keywords:   revisionist history, Los Angeles, invisibility, remix, experimentation, critical methodology, transnational, transmodern, expansive methodology

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