Felicity Amaya Schaeffer traces the scientific and technological development of militarized surveillance at the US-Mexico border across time and space as well as the efforts of Native peoples to continue ancestral practices in the face of ecological and social violence.
Focusing on artists and art collectives in Argentina, Mexico, and the United States, Jennifer Ponce de Leon examines how experimental artistic practices in the visual, literary, and performing arts have been influenced by and articulated with leftist politics, popular uprisings, and social struggles that resist neoliberal capitalism.
Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ren Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies.
Diana Taylor offers the theory of presente as a model of standing by and with victims of structural and endemic violence by being physically and politically present in situations where it seems that nothing can be done.
Leticia Alvarado explores how Latino artists and cultural producers have developed and deployed an irreverent aesthetics of abjection to resist assimilation and disrupt respectability politics.
Extending decolonial theory into greater conversation with race, sexuality, and Indigenous studies, Macarena Gomez-Barris traces the political, aesthetic, and performative practices of South American indigenous activists, intellectuals, and artists that emerge in opposition to the ruinous effects of extractive capital.
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