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An elaborate parade float in East LA on Whittier Boulevard and three women wave to an unseen crowd.

"East L.A. Christmas Parade," November 28, 1982.

Black and white photograph of a float sponsored by La Reina tortillas cruising down Whittier Boulevard by Paul Chinn. Herald Examiner Collection/Los Angeles Public Library.

“Désfile de Navidad en el Este de Los Ángeles (East L.A. Christmas Parade)”, 28 de Noviembre de 1982.

Fotografía de una carroza patrocinada por La Reina tortillas recorriendo Whittier Boulevard, por Paul Chinn. Colección Herald Examiner/Biblioteca Pública de Los Ángeles.


Asco artist Patssi Valdez is being taped to a yellow wall in East LA by fellow Asco member Gronk. Patssi has a full face of makeup and wears a red jacket short shorts with tights and platform heels.

Asco, Instant Mural, 1974.

Color photograph by Harry Gamboa Jr. ©1972–1974, Harry Gamboa Jr.

Asco, Mural Instantáneo (Instant Mural), 1974.

Fotografía a color de Harry Gamboa Jr. ©1972–1974, Harry Gamboa Jr.

A scanned film negative held in a slide container appropriate for a projector with Harry Gamboa notes and a Made in USA marker. The negative is a still from the group Asco performing Walking Mural.

Original 35mm slide of Walking Mural, 1972.

Courtesy Harry Gamboa Jr. ©1972–1974, Harry Gamboa Jr.

Diapositiva original de 35 mm del Mural Caminante (Walking Mural), 1972.

Cortesía de Harry Gamboa Jr. ©1972-1974, Harry Gamboa Jr.

Willie Herron III paints a mural on a Los Angeles roof while standing on scaffolding. The background shows multiple other buildings and mountains.

Willie Herron III painting an acrylic mural titled East of No West (2011) based on Harry Gamboa Jr.'s photographs of Walking Mural (1972).

The mural is located at 4111 City Terrace Dr., Los Angeles, CA and was commissioned by the Getty Museum as part of Pacific Standard Time. Photograph by Isabel Rojas-Williams.

Willie Herron III pintando un mural acrílico titulado Este del No Oeste (East of No West), 2011, basado en fotografías de Harry Gamboa Jr. del Mural Caminante (Walking Mural), 1972.

El mural se encuentra ubicado en 4111 City Terrace Dr., Los Ángeles, CA y fue encargado por el Museo Getty como parte de Pacific Standard Time. Fotografía de Isabel Rojas-Williams.


A legend featuring an outlined version of the complete mural by Barbara Carrasco and a list of the historical context that correlates to each individual vignette. In total there are fifty one scenes.

Legend for L.A. History: A Mexican Perspective.

Leyenda para La Historia de Los Ángeles: una Perspectiva Mexicana (L.A. History: A Mexican Perspective).

Yreina Cervantez and Barbara Carrasco are in front of a panel from the mural LA History A Mexican Perspective. They both paint and the canvas is seen split into a gridded formation for organization.

Yreina Cervántez, then an artist assistant to Barbara Carrasco, painting a section of L.A. History: A Mexican Perspective, 1981.

Photo courtesy of Barbara Carrasco.

Yreina Cervántez, entonces asistente de Barbara Carrasco, pintando una sección de La Historia de Los Ángeles: una Perspectiva Mexicana (L.A. History: A Mexican Perspective), 1981.

Foto cortesía de Barbara Carrasco.

Frances Carrasco sits with her head resting in her right hand. While posing she gazes to the left at something off camera.

Photograph of the artist's sister, Frances Carrasco, c. 1981.

The photograph is the basis for the central figure of the mural, L.A. History: A Mexican Perspective.

Fotografía de la hermana de la artista, Frances Carrasco, c. 1981.

Esta fotografía es la base de la figura central en el mural, La Historia de Los Ángeles: una perspectiva mexicana (L.A. History: A Mexican Perspective).


A bust portrait of Dolores Huerta in yellow, pink, and brown. The name Dolores is on the top center overlapped by her short layered hair.

Barbara Carrasco, Dolores, 1999.

Screenprint on paper.

Barbara Carrasco, Dolores, 1999.

Serigrafía sobre papel.

A pickup truck with supplies is parked in front of the site for the mural by Judithe Hernandez. The mural is not complete and the original brown building color is visible.

In progress photograph of Homenaje a las Mujeres de Aztlán, 1976.

Fotografía en proceso de Homenaje a las Mujeres de Aztlán, 1976.

A central female figure is surrounded by cacti blooming with flowers. The bottom half of the print by Judithe Hernandez features a calendar reading left to right Sunday to Saturday and includes twenty eight days indicating the month of February.

Judithe Hernández, Reina de la Primavera, from Méchicano 1977 Calendario, 1976.

Screenprint on paper, sheet and image: 22 x 28 in. (55.9 x 71.1 cm), Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2012.53.6, © 1976, Judithe Hernández.

Judithe Hernández, Reina de la Primavera, de Méchicano 1977 Calendario, 1976.

Serigrafía sobre papel, hoja e imagen: 55,9 x 71,1 cm (22 x 28 in.), Museo de Arte Americano Smithsonian, compra del museo a través del Luisita L. and Franz H. Denghausen Endowment, 2012.53. 6, © 1976, Judithe Hernández.


Charles White and Judithe Hernandez talk in a classroom with a large amount of natural light. Judithe holds a paintbrush and White is pointing to something out of frame suggesting he is providing feedback on her work.

Judithe Hernández and her teacher, Charles White, at Otis College of Art and Design (then Otis Institute of Art) in the 1970s.

Courtesy Otis College of Art and Design.

Judithe Hernández y su maestro, Charles White, en la Escuela de arte y diseño Otis (entonces Instituto de Arte Otis) en la década de 1970.

Cortesía de Escuela de arte y diseño Otis.

Judithe Hernandez is center frame being interviewed. A canvas of a woman surrounding the fauna and an easel without a work on it are in the background.

Clip of "Judithe Hernández – An Evolution of Los Four." PBS, October 19, 2013.

https://www.pbs.org/video/judithe-hernandez-an-evolution-from-los-four/

Clip “Judithe Hernández ‐ An Evolution of Los Four”. PBS, 19 de Octubre de 2013.

https://www.pbs.org/video/judithe-hernandez-an-evolution-from-los-four/

A single page from a newspaper published where the first three lines are sensational headlines about a party and directly below is a drawing by Jose Guadalupe Posada depicting a queer dance party. A longer article is below the illustration and is split into two columns.

José Guadalupe Posada, El baile de los 41 de la Calle de la Paz en 20 de Noviembre de 1901, 1901.

Illustrated broadsheet published in the newspaper El Nacional.

Courtesy of the New York Public Library, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs.

José Guadalupe Posada, El baile de los 41 de la Calle de la Paz en 20 de Noviembre de 1901, 1901.

Pasquín ilustrado publicado en el periódico El Nacional.

Cortesía de la Biblioteca Pública de Nueva York, División de Arte, Grabados y Fotografías Miriam e Ira D. Wallach.


The frame is pointed upwards looking at a long aqueduct column. At almost the bottom of the frame, the names Mike and Walt are written in cursive with a plus sign between their names.

Mike & Walt, possibly 1934.

Graffiti tag in chalk in the Los Angeles Spring Street Bridge abutment, an underground venue where persecuted queer subjects created artworks that express the tenderness and intimacy of homosexual and homosocial relationships.

Photograph by Susan A. Phillips, printed in The City Beneath: A Century of Los Angeles Graffiti (New Haven: Yale University Press, 2019).

Mike & Walt, posiblemente 1934.

Grafiti con tiza en el estribo del Puente Spring Street en Los Ángeles, un espacio subterráneo donde sujetos queer perseguidos crearon obras de arte que expresan la ternura e intimidad de relaciones homosexuales y homosociales.

Fotografía de Susan A. Phillips, impresa en The City Beneath: A Century of Los Angeles Graffiti (New Haven: Yale University Press, 2019).


This sketch by Gabriela Ruiz and Rafa Esparza is an ink drawing with semi thick lines. It features a part of their final mural showing two smiling femme figures dancing together and hair flowing with their movement.

Preparatory sketch of Nostra Fiesta.

Courtesy Gabriela Ruiz.

Boceto preparatorio de Nostra Fiesta.

Cortesía de Gabriela Ruiz.

A party poster that reads Rye Rye Total Freedom HBD Nacho Mustache for December 24, 2012 in Los Angeles. The center features a wide cast of illustrated characters both nude and in bikinis.

Promotional poster for a birthday bash on December 24, 2012 celebrating Ignacio "Nacho" Nava, Jr—the main promoter of "Mustache Mondays" in the Los Angeles queer nightlife scene.

Courtesy Brian Skiff.

Afiche promocional de una fiesta de cumpleaños el 24 de Diciembre de 2012 en honor a Ignacio "Nacho" Nava, Jr.—el principal promotor de los "Lunes de Bigotes (Mustache Mondays)" en una escena de la vida nocturna queer de Los Ángeles.

Cortesía de Brian Skiff.


A drag performer does their makeup in a large scale mirror. Other performers and the photographer are visible in the background. The image is slightly degraded across the top adding to the grainy film used by the photographer.

Reynaldo Rivera, Paquita and Reynaldo, Le Bar, 1997.

Courtesy Reynaldo Rivera and Reena Spaulings Fine Art.

Reynaldo Rivera, Paquita y Reynaldo, Le Bar, 1997.

Cortesía de Reynaldo Rivera and Reena Spaulings Fine Art.

A box truck sits on the street with a Timoi spray painted work featuring a nude femme character in blue purple and green. The figure has exaggerated eyes and there is text below them reading toys you aint worthy with exclamation points.

Timoi, "Divina Truck," Los Angeles, 2013.

Timoi, "Camión Divina (Divina Truck) ", Los Ángeles, 2013.

Timoi spray paints a portrait of Luisa Moreno who appears in many colors including pink green and blue. In front of the canvas rests a large table filled with spray cans of various colors.

Timoi at work on a spray paint portrait of the Guatemalan social activist Luisa Moreno at Cal Poly San Luis Obispo.

Timoi trabajando en un retrato pintado con aerosol de la activista social Guatemalteca Luisa Moreno en Cal Poly San Luis Obispo.


A group of four men hold long paint rollers as they cover up a short call with graffiti writing. The paint they are using is darker than the wall displaying the patches where tags were painted. In the extreme foreground a paint roller soaked with paint is deliberately prominent.

Homeowner Oliver Smith helps paint over a graffiti-covered wall on Riverside Drive in Silver Lake, CA on June 30, 1980 as part of city‐wide anti‐graffiti efforts.

Black and white photograph by Dean Musgrove. Herald Examiner Collection/Los Angeles Public Library.

El propietario Oliver Smith ayuda a pintar encima de una pared cubierta de grafiti en Riverside Drive en Silver Lake, California, el 30 de Junio de 1980, como parte de los esfuerzos anti‐grafiti que tuvieron lugar en toda la ciudad.

Fotografía en blanco y negro de Dean Musgrove. Colección Herald Examiner/Biblioteca Pública de Los Ángeles.


A spiral staircase with a street sign indicating the speed limit as 35 for an unseen turn. On the staircase pillar is a graffiti piece depicting a skull wearing a hat.

Chaz Bojórquez, Señor Suerte (Mr. Lucky), 1969-84. Intersection of Interstate 5 and the 110 Freeway, Los Angeles, CA.

Example of a "heavens" freeway tag.

Chaz Bojórquez, Señor Suerte (Mr. Lucky), 1969-84. Intersección de la Interestatal 5 y la Autopista 110, Los Ángeles, California.

Ejemplo de un "tag" en la autopista con la inscripción "heavens".

The mural dedication poster is photocopied and contains information for the event on August 27th, 1980, including the special guest Dolores Huerta. An image appears in the center featuring Yreina Cervantez and a group of her assistants.

Invitation to La Ofrenda mural dedication, August 27, 1989.

Invitación a la inauguración del mural de La Ofrenda, 27 de Agosto de 1989.


A group of five individuals including Yreina Cervantez rest on scaffolding in front of the early stages of the mural La Ofrenda. The grids utilized to paint the mural in a coordinated manner are visible.

Yreina Cervántez at work on La Ofrenda with student assistants.

Yreina Cervántez trabajando en La Ofrenda con estudiantes asistentes.

This sketch is completed in colored pencil and depicts most of the main imagery from the final mural by Yreina Cervantez. Dolores Huerta is centered with other figures around her including a farm worker seamstress and paleta seller pushing a cart.

Preparatory sketch of La Ofrenda.

Boceto preparatorio de La Ofrenda.

The complete text of the full poem by Sara Martinez and Rosanna Perez featured in the mural by Yreina Cervantez titled La Ofrenda.

Full text of "Mujer," a bilingual poem by Sara Martinez (also known as Rosanna Perez), included in La Ofrenda.

Texto completo de "Mujer", un poema bilingüe de Sara Martínez (también conocida como Rosanna Pérez), incluido en La Ofrenda.