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This document is a brief introduction to the major conceptual underpinnings of the 1990 exhibition and symposium, Post-Chicano Generation in Art: Breaking Boundaries. Liz Lerma Bowerman suggests that while the definition of post-Chicano art has yet to be firmly established, its consideration is important in that it allows for a reevaluation of the position of Chicano art in relationship to the mainstream. She cites several examples of works by Chicano artists included in the exhibition whose formal and conceptual qualities challenge traditional ideas of Chicano art, therefore suggesting that post-Chicano art is fundamentally rooted in a desire to exceed established boundaries and to break away from standard interpretations of what Chicano art is and should look like.
Liz Lerma Bowerman was the director of MARS (Movimiento Artístico del Rio Salado) and a co-curator, with Max Benavidez, of the Post-Chicano Generation in Art: Breaking Boundaries exhibition. She was also the organizer of the symposium that accompanied the exhibition. Both were important in that they signal the first time that the term “post-Chicano” was used to describe the kind of art that was being produced and that veered from a sociopolitical agenda. With the exhibition and symposium, Bowerman seized an opportune moment in Chicano art history to position MARS as a leader in promoting exploration and inquiry into the complicated state of Chicano art.
For Max Benavidez’s article “The Post-Chicano Aesthetic: Making Sense of the World,” see doc. No. 1082685.