For reproductions of 1968 Student Movement art, see Grupo
Mira (1988), Aquino and Perezvega (2004), and Ayala (1998).
For examples of grupos movement art, see Liquois (1985a), De-
broise (2006a), García Márquez et al. (1977), and Híjar (2007).
For images of Chicano movement art, see Griswold del Cas-
tillo et al. (1991), Gaspar de Alba (1998), Keller (2002), and
Keller et al. (2004).
In 2010 the Instituto de Artes Gráficas de Oaxaca (iago),
located in the city of Oaxaca, completed an extensive digital ar-
chive about the cocEi that includes many of the same images
that I was able to locate over the past ten years, which will make
future research on this movement much easier.
one | SiGnS oF the tiMeS
Cynthia Fowler (2007, 63) offers a similar analysis of the work
of several contemporary American Indian artists who “explore
hybridity as a vehicle for the redefinition not only of themselves
as individuals, but also of their culture as a whole.”
On the legend of Aztlán and artwork derived from it, see Fields
and Zamudio- Taylor (2001). See especially Mesa- Bains (2001)
and Zamudio- Taylor (2001) about the relationship of Aztlán to
the Chicano movement and associated art.
On the student movement of 1968, see Poniatowska ([1971]
1992); Zermeño ([1978] 1998); Álvarez Garín (1998); Frazier
and Cohen (2003); and Carey (2005). On the artwork of the
student movement of 1968, see Grupo Mira (1988); Ayala
(1998); Aquino and Perezvega (2004); and Vázquez Mantecón
(2006b). On the grupos movement, see El Rollo et al. (1980);
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