1990

The US experiences yet another seasonal "Latino boom," and border art becomes fashionable. The original Border Arts Workshop is invited to the Venice Biennale; after this event, we feel it's time to dismantle the group to avoid becoming a parody of ourselves, "the Grateful Dead of border art." But, as so often happens, the only Anglo male in the group copyrights the name and appropriates the project, turning it into an art maquiladora.

It's time for me to search for a new place from which to speak. I begin a series of collaborations with writer and artist Coco Fusco, the first a multi-media installation titled Norte/Sur. Nola Mariano becomes my long-term manager, art bodyguard, and macabre accomplice.

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*Radio Free Pocha