According to Antonia Hernández, she “went to law school for one reason: to use the law as a vehicle for social change.” Decades later, she can claim numerous legal victories for the Latinx community in the areas of voting rights, employment, education, and immigration. From legal aid work, to counsel to the Senate Judiciary Committee, to head of a major civil rights organization, Hernández has used the law to realize social change at every turn.
As an individualist who was disengaged from any official artistic movement, Kahlo’s artwork has been associated with Primitivism, Indigenism, Magic Realism, and Surrealism. Posthumously, Kahlo’s artwork has grown profoundly influential for feminist studies and postcolonial debates, while Kahlo has become an international cultural icon.
Izquierdo’s work opened up new possibilities for using symbols tied to Mexican traditions in a way other than to serve the nationalist discourse in art at the time. Izquierdo believed in art for art’s sake and wanted to go beyond the bounds of political art then. While the concept of art for art’s sake traced back to nineteenth-century European avant-gardes, in her context of post-revolutionary Mexico, this direction in art especially bucked the trend of using art as a propagandistic tool. Instead, art’s meaning, for Izquierdo, could be personal and variegated, not following the lines set by the politically powerful art establishment then.
As a Mexican-American journalist, activist, and suffragist, Jovita Idár often faced dangerous situations. However, she never backed down from a challenge. She single-handedly protected her newspaper headquarters when the Texas Rangers came to shut it down, and crossed the border to serve as a nurse during the Mexican Revolution. Idár bravely fought the injustices in her time.
Ximena Cuevas is a Mexican video performance artist, whose work often explores the social and gender issues that lesbians face in Mexico. She is one of Mexico’s first video artists to be recognised by major American cultural institutions. Her videos and films have screened at the Sundance Film Festival, New York Film Festival, and the touring film series, Mexperimental Cinema, as well as New York’s Museum of Modern Art and the Guggenheim Museum, Berkeley Art Museum, Contemporary Art Museum of San Diego, and the Museo Universitario de Arte Contemporáneo de la Ciudad de México. In 2001, MoMA acquired nine of Cuevas’ videos for the museum’s permanent collection, which was the first time a Mexican video artist’s work had been included in MoMA’s collection; 24 of her videos are in now in the collection.
Cuevas has been recognized by the Mexican government as a significant contributor to videography. Many of her films offer social commentary on corruption and its impact on culture, society and politics, and explore from a feminist perspective the place of women in society, particularly lesbians.
After becoming disillusioned with traditional films being made in Mexico and internationally, Cuevas purchased a camera and began producing her own films in 1990. Her work is known for its subtle irony of evaluating contemporary society and exposing the disconnect between social customs and beliefs versus the reality of living using a combination of truth and fiction. She deconstructs myths of the “typical middle-class Mexican family”, heteronormative relationships and concepts of beauty, by parodying the ridiculousness of their traditional portrayal in popular culture. In her own words, her films reveal the “half lies” of the collective Mexican imagination. Among her noted works is the 1993 video clip entitled “Corazon Sangrante”.
Teresa Villarreal González was a feminist, labor organizer, and political activist who supported the Partido Liberal Mexicano (PLM) and the Mexican Revolution (1910–17). She and her sister Andrea published the feminist newspaper La Mujer Moderna (The Modern Woman) in 1910. That year, Teresa also established El Obrero: Periódico Independiente (The Worker: Liberal Newspaper) in San Antonio, Texas, and published articles that addressed issues of the working class and called for mass involvement in Mexican Revolution’s struggle for a democratic government. Along with economic, educational, and cultural improvements for the masses, she advocated for the emancipation of women.
Maria Gertrudis “Tules” Barceló was a saloon owner and master gambler in Santa Fe in the Territory of New Mexico in the 1830s-1850s. She reolcated sometime after Mexican authorities fined her for operating a gambling salon for miners in the Ortiz Mountains. Barceló amassed a small fortune by capitalizing on the flow of American and Mexican traders involved with the commercial highway of the Santa Fe Trail. She became infamous in the U.S. as the Mexican “Queen of Sin” through a series of American travel writings and newspaper serials before, during, and after the Mexican-American War. These depictions, often intended to explain or justify the U.S. invasion of Mexico, presented La Tules as a madame and prostitute who symbolized the supposedly immoral nature of the local Mexican population. In addition to false assertions that she was a prostitute, many also claimed that she was having an illicit affair with New Mexico Governor Manuel Armijo. The sensational accounts were typicallyembellished, if not completely fabricated. Most of the American descriptions of Tules Barceló contradicted each other wildly in terms of her appearance and background. The only common agreement among them was that Barceló excelled at the card game monte, often winning vast piles of gold from the male customers in her saloon. Barceló died on January 17, 1852 in Santa Fe with a remarkable fortune of $10,000 and several houses.
Andrea Villarreal was a teacher, poet, feminist, labor organizer, and revolutionary. Along with her sister Teresa, Andrea published the feminist newspaper La Mujer Moderna (The Modern Woman, 1910) supporting the liberal-radical activities of the Partido Liberal Mexicano (opposing the Mexican dictatorship of President Porfirio Díaz (1876–1911)) in San Antonio and the Mexican Revolution (1910–17). She publicly opposed the imprisonment of Mexican men during the Revolution and was referred to by members of the press as the Mexican Joan of Arc.
A Mexican politician and member of the National Action Party (PAN), Martha Érika Alonso served as the first female governor of Puebla from 14 December 2018 until her death ten days later in a helicopter crash. As the wife of her predecessor, Rafael Moreno Valle Rosas, she had served as the state’s first lady from Februray 2011 to February 2017.