Throughout Frida Kahlo’s paintings, the artist not only expresses her feminist ideas, but also her socialist goals through the use of Aztec symbols. After suffering from much pain and trauma, both physical and emotional, Kahlo brings to her works one of the most noteworthy topics of politics in Mexico. Many symbols are derived from Aztec gods and are commonly placed in her arms or near her body in her self-portraits to signify her personal beliefs supported by her indigenous-Mexican origins. Kahlo’s Aztec inspiration reinforces her political agenda portrayed in her pieces.

Cindy Sherman explores her own identity through abstract and feminist art. Sherman manipulates her physique and appearance to create thought-provoking pieces. The author Danielle Knafo analyzes a different perspective to Sherman’s works, one more playful in manner compared to other analysts of Sherman’s self-portraits. Knafo examines various different phases Sherman undergoes with time, throughout her series including: I. Dressing Up, II. Masquerade (her most well-known works), III. A Grim Fairy Tale, IV. Playing House, and V. Doll Play, all varying in technique and composition.

Although many recognize Frida Kahlo’s works for her portrayal of her native roots, she also takes inspiration from Spanish colonialism and artists. Kahlo emphasizes the overlap between Indigenous and Spanish to highlight a deep and painful past within Mexican history. She personally relates to the notion of pain and depicts her tumultuous relationships and upbringing through her self-portraits.

Cindy Sherman dresses in an old-style, Hollywood fashion to recreate film stills that speak about the nature of women’s expectations and stereotypes into contemporary society.

Multiple artists after Cindy Sherman take inspiration from her self-portraiture and self-manipulation. Jennifer Dalton examines the work from three separate artists and their takes on ethnicity, age, gender, and class.

Dawn M. Wilson analyzes the technical aspects of self-portraiture in relation to artists such as Edward Steichen, Diane Arbus, and Nan Goldin.

The magazine interprets the work of female artists and their works paralleling contemporary notions. The contemporary era has allowed female photographers to explore and experiment with the self through their work. The featured artists provide exaggerated, dramatized and malleable views of a woman’s body: Janine Antoni, Jenny Saville, and Catherine Opie.

Artist Ina Loewenberg argues that since women have long been the subject or portraiture, the act of self-portraiture is women reclaiming their personal representation of themselves in art. Loewenberg then provides self-portrait photos from her own work to supplement her argument.

Self portrait photography is linked to the act of performative art such that the task of posing, dressing and acting are all performance. Self-portrait artists such as Hannah Wilke, Cindy Sherman, Laura Aguilar, and Lyle Ashton Harris are compared and contrasted in the composition, backgrounds, appearances, and processes of their images. All artists are combatting the struggle of portraying themselves through their own points of view in opposition to the stereotypical heterosexual, white, and male depiction of women and minorities.

Various Guatemalan-Mayan women write literature and poetry to express their pain, culture, and history originated from Guatemala. All of the writers mentioned in Letras Femeninas call for action to bring about love and social action in the present state of Guatemala and halt the violence against women, indigenous, and persons of government opposition.

Feminism originated from higher class Anglo and Western women, yet did not apply to native, middle to lower class, and LGBTQ women. Donna J. Guy provides multiple arguments to defend the growth of Latin American feminism and equality. Many issues stem from institutional practices such as the church, the government and the family. Instead of equality typically being seen as on an individual basis issue, in Latin America, it’s rather familial. The family enables patriarchy and machismo, therefore hinders women's opportunity for social mobility. These institutions not only hinders women’s individual abilities, but even more so towards LGBTQ identifying women and end up completely overlooking them, creating greater obstacles between women and equality.

In Mesoamerican Aztec society, many religious figures predating Catholicism were often dualed as female and male or even androgynous, not specifying gender in relation to appearance. Most gods and goddesses were directly tied to the Earth, Cosmos, or patron of certain laborers. It wasn’t until the Spanish introduced catholicism to Latin America where gender roles were more strictly outlined and enforced. Prior to this shift, male assigned deities often did take present day “female” affiliated roles. Militarism and religion contributed to the suppression of women’s rights in Mayan and Aztec society.

Many people in developed countries attain a higher privilege in accessing information about gender identity, but peoples of Indigenous communities are rarely depicted in these histories although being highly fluid and autonomous. The gender binary is a Western concept and external societies don’t follow this same system of gender. Tadashi Dozono identifies as a cisgender queer Japanese American man and examines Indigenous groups of Eastern Asia, Africa, Eastern Europe and Latin America and their portrayal of gender.

Latin America has a large presence of homophobia on a global scale. Although homophobia threatens the existence of queer people in Latin countries, many artists still express themselves through art and literature, especially in South America and the Caribbean. David William Foster examines various hispanic authors and their relations to queer identity and their reservations about queerness in terms of Latine identity.

Elisabeth Jay Friedman analyzes the use of ICT (Information and Communication Technology) and the progress it’s allowed for contemporary society of Latin America and its governments. The use of the internet has allowed citizens of Latin American countries to protest and demand more from their governments, then enact change for their countries. In addition to the progressive ideals that the internet has facilitated, the internet also allows people of the LGBTQ community and subculture groups to express themselves in a more open, accepting and fast paced environment. Although the internet is a great space for communication, it is the utilization from people that allows for the good or bad to occur; the web is only the means in which people express their ideas, not the how.

A common theme explored through Latin American art is the idea of pain. Artist Ana Mendieta reveals the pain behind her Cuban history, but also different instances of pain relating to her personal life and American life through her performance and video pieces.

Gabriela Jurosz examines the different processes and details of Guatemalan Art in comparison to Western traditions and even neighboring Latin American countries. Guatemalan artists continue portraying the idea of indigenous culture, nature and the Earth, religion, and the cosmos. While depicting these themes, the various techniques in color and shape tend to continue but can vary in media, such as textile work and painting.

Women in Guatemala shape the fashion and art culture. Most of the women work in some fabric and textile related work, allowing them to create clothing articles and headpieces. Through the weaving of textiles, women integrate the histories and culture of the region, allowing them to preserve it. The article supplements photos of various textile work and women creating them.

Women have faced many obstacles in the field of photography. Many female photographers give trans women the opportunity to portray themselves truly and openly. These female photographers do this in order to also allow themselves to give off their personal experience with womanhood and create a shared one through the image.

In an interview conducted by Mark Holborn, Nan Goldin is asked the meaning behind her slideshow series Ballad of Sexual Dependency. She goes on to detail the history of her relationships with lesbian and gay communities and how they're subjects she likes to portray in her work.

Christopher Ribbat highlights the key distinctions between straight photographers and queer photographers or subjects. Most highlights include the use of emotion and posing.

Through the 70s and 80s, artist Joan E. Biren (JEB) photographed queer communities across the United States. She was an advocate for the LGBTQ community and her subjects were mostly of lesbian women. JEB’s work helped many people see the lives of queer groups and her work also helped shine light on these people as individuals.

Queer identifying artists recall their experiences with their identity and its intersection with their art inspirations and careers.

Andy Campbell briefly overviews the background of artist Paul Mpagi Sepuya before providing photographs within his series Beloved Object and Amorous Subject, Revisited. Sepuya captures images that depict intimacy between him and other subjects, specifically men, to highlight his queer identity. Not only does Sepuya appear intimate with his subjects, he also is intimate with the process. Sepuya intentionally orchestrates his composition into spatial relation with the background and other objects. The extent of the intimacy portrayed is him with his subjects, him within his space, and additionally his relationship he creates with the viewers of his work.

Jennifer V. Evans investigates the work of Herbert Tobias’ work over gay identity and how it allowed for the continual acceptance of homoerotic art. After years of being suppressed and criminalized, Tobias’ work inspired queer artists to display their ideas of sex, love and affection through art. Tobias worked through a time where homophobia was prevalent and being gay was looked down upon. However, he continued to pursue his queer identity through his photographs. Photography permitted Tobias to capture the true nature of same-sex attraction. After his works became more and more inspirational and influential to contemporary artists, more are revealing their identity and the conversations about eroticism and sex have become increasingly more open.

Women are consistently undermined in the art world. Men constantly portray women in their works, but in a false manner. Men can create feminist art, however will never truly understand the female experience. While men get the credit in institutions women are hardly credited or considered masters, rarely hold spots in exhibitions, and are overly sexualized. The author of the article provides various female artist examples, criticism they receive, and statistics on their inclusion in the museum field, and even less so of women of color.

Liza Bakewell examines the conflicting ideas Frida Kahlo experienced in her lifetime. While married to famous muralist painter Diego Rivera, Kahlo challenged her perception of gender and identity and often portrayed herself in a masculine manner (ie. more profound facial hair, shorter hair and “male” suits) to combat the female gender roles in Mexican society and to draw attention in a male-dominated field of art. Her discomfort with identity stemmed from her childhood and the ideas imposed on her. Continuing throughout the duration of her life, Kahlo had repeated these instances of gender discomfort. Having survived multiple health complications, Kahlo was never able to give birth and never had children of her own. This preconceived notion of child-bearing forced upon her by modern society inspired her to reflect on womanhood, identity, virginity and the judgements of blood for man versus woman. Kahlo’s portraits are an extension of gender being a political idea.

In "From the Margins of Latin American Feminism: Indigenous and Lesbian Feminisms," Indigenous and Lesbian feminisms are contrasted against Liberal feminism. As a result of liberal feminism, Latin American feminism has been able to expand on their ideas, including those of different races, classes, and sexualities. Although feminism is becoming more intersectional and inclusive, specific groups have been prone to continue excluding certain members that their feminism and social justice extends to.

Second wave feminism is reexamined from a women-of-color point of view. Typically it has been portrayed through a white woman’s perspective, but that lens fails to include Black, Latina, Asian and LGBTQ+ experiences. These subgroups were often excluded and forced to create their own coalitions of feminism based on their individual ethics before slowly conjoining into a larger union.

Feminist art constitutes an investigation into the idea of authorship. Since women are the ones creating the work but not limited to being the subject of their work, they portray their personal female experience that men cannot. Linda S. Klinger compares the methods of Cindy Sherman and Clarissa Sligh in relation to questioning the female self-identity.

Guatemala has faced turmoil within its land due to civil unrest and political turbulence from far left-wing and far right-wing guerilla groups within the second half of the 20th century. Various regimes occupied Guatemala’s politics. Civilians struggled in politics since Guatemala was a military ruled state. Civilian Vinicio Cerezo was elected to run for the presidency and eventually earned the position in 1986. Although he struggled to unite Guatemala, progress has been made in little steps.

Author W. George Lovell follows the history of colleagues of his and their recollections of Guatemala since the 1960’s. State violence, abductions, torture, and other forms of violence are discussed as they are integrated in Guatemala's history. All of this information was revealed when an organization in Guatemala discovered an archive detailing actions committed by the National Police. About 200,000 individuals lost their lives as a result of state led violence.

Statistics show that rates of female-targeted violence are especially high in places in Latin American and African countries. Although men are victims of homicide at proportionately high rates, women are no safer than men in these areas. Various graphs and tables show statistics of these numbers and research.

This article focuses on a specific area in Mexico being a hotspot for femicide. Ciudad Juarez lies on the border between El Paso, Texas and Chihuahua, Mexico. Patriarchy or machismo has reinforced men’s superiority to women. It’s high rates of female homicide (notably one of the worst in Latin America) has motivated many support and union groups against female violence.

Author Jen Sauer, is a white woman writing about her experience in Central America and connecting it to the high rates of violence. A decades-long war preoccupied Guatemala and began the culture of violence it holds today. Guatemalan women are asking the government to take more preventive measures to ensure women’s safety. In addition to lobbying, women have created organizations to join and voice their concerns over femicide in the country.

In this mini article, various authors provide brief news on various topics pertaining to women's rights. Most topics reveal how threatened women’s lives are and how few countries do work to keep women safe.

In this research report, the author defines femicide and how it predominantly stems from patriarchal ideas and domestic abuse.

Femicide is a global issue, but the extreme rates occur in Latin and Central America. Most of this violence stems from misogynistic ideas. Statistically, women who are better off and well-educated have higher rates of violence due to the cultural phenomenon of machismo. Other roots of violence stem from dictatorship, militarism, civil war, and other government related issues.

Guatemala has the highest rates of femicide and gender based violence in all of Central America. Being a woman is a political statement in Latin American countries. Because of its continual practice of misogynistic and unequal ideas, rates continue to soar in other Latin American countries as well. Most situations of gender based violence occur due to intimate partner violence. Guatemalan women call for the governments and people worldwide to pay attention to this issue.

Although men are more likely to be killed in Guatemala, they aren’t targeted because of their gender. Women are typically killed in a very violent and gruesome manner leaving people to believe they’re targeted based on their gender and their subjugation to men. Guatemala has endured a violent history, which contributes to its levels of violence today. Even when violence is reported, women rarely reap the benefits of coming forward. As much as Guatemala condemns violence against women, the country’s legal actions are doing little to protect them.

Statistics show various beauty ideals and attractive features are depicted in magazines, television, and music and how they’ve shifted over time.

Fashion has altered society’s expectation of beauty for women. Originating from as early as the Greek periods, to the Renaissance and Contemporary eras, fashion has shaped the view of women.

Beauty is defined by specific ideas and depictions. In El Salvador and Central America, trans women are targeted for their accurate conformity (or “failure” of) to femininity.

In Women Studies Quarterly, the author gives their thoughts on the Miss Peru beauty pageant. In the competition, instead of the contestants providing their measurements, they gave the statistics of femicide inside of their country. While the protest brought attention to the numbers, it fails to recognize how the issues of class, race, and gender are upheld in beauty, then leading to harmful hierarchies

Consumerism and fashion have contributed to the construction of identity. What is seen from media such as magazines and ads largely influences society and the fashion people choose to wear. What is more expensive and worn by celebrities are typically viewed as most desirable, therefore appearing more beautiful.

Erin Striff claims that female artists participating in performance art allows them to reclaim their body as their own art subject. Striff compares two performance artists Karen Finley and Laurie Anderson and how they view their own bodies and how they portray them to an audience.

In the Aperture article, photography is described as capturing a performance piece in that particular moment, but also removing the distraction of the audience. Mark Alice Durant includes the works of many performance artists and photographs taken from these images.

Richard Shusterman analyzes each element of the photographic process. The actions of a subject, the camera, and the photographer, all perform a role or duty in capturing an image.

Latinas face issues concerning their womanhood and body. One one end they deal with the politicization of their body as a female, but on the other end this identity conflicts with many expectations as a woman in Latin America. Through performance art, women artists are able to express each part of their identity, separately.