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This essay by Armando Rascón was included in the catalogue of the exhibition Xicano Progeny, curated by Rascón and held at the Mexican Museum in San Francisco, CA in 1995. According to the author, one of the main objectives of Xicano Progeny was to examine the waning influence of Chicano ideology among barrio (i.e. working-class neighborhood in U.S. with mostly Spanish-speaking residents) youth, as well as to define the key concerns of the new, what he calls, Revolutionary Generation (in reference to Chicano political movement). Rascón believes that central to achieving these objectives are the promotion of self-criticism and political empowerment, and the rejection of self-victimization among Chicanos. He also briefly discusses the work of each artist in the exhibition: Daniel J. Martinez, Lucia Grossberger-Morales, Marisa Hernandez, Iñigo Manglano-Ovalle, Elisa Jimenez, Ruben Ortiz, and Francesco Siqueiros.


Armando Rascón, an artist and curator, uses the framework of the Chicano Movement’s concept of Aztlan as a point of departure and historical reference to review and reassess the art of a younger generation of Latino artists in the 1990s. Not limiting himself to only Mexican Americans or Chicano artists, Rasócon includes South-American (Manglano-Ovalle and Grossberger-Morales) and Mexican (Siqueiros and Ortiz) artists who have made the U.S. their home and artistic focus. Unique to this exhibition and as delineated in his essay is Rascón’s concept of “Chicano” as an oppositional stance that is not narrowly defined on nationalist political terms, but rather by the reality of contemporary communities caught in global migration. However, even though the essay questions what “Chicano” or “Latino” art is, especially after the Chicano movement, it reasserts the importance of the Chicano Movement in the genealogy of this new generation of Latino artists.

This is the Spanish version of document #795692.

Tere Romo
Chicano Studies Research Center, UCLA, Los Angeles, USA