In Abject Performances Leticia Alvarado draws out the irreverent, disruptive aesthetic strategies used by Latino artists and cultural producers who shun standards of respectability that are typically used to conjure concrete minority identities. In place of works imbued with pride, redemption, or celebration, artists such as Ana Mendieta, Nao Bustamante, and the Chicano art collective known as Asco employ negative affects-shame, disgust, and unbelonging-to capture experiences that lie at the edge of the mainstream, inspirational Latino-centered social justice struggles. Drawing from a diverse expressive archive that ranges from performance art to performative testimonies of personal faith-based subjection, Alvarado illuminates modes of community formation and social critique defined by a refusal of identitarian coherence that nonetheless coalesce into Latino affiliation and possibility.

In Abject Performances Leticia Alvarado draws out the irreverent, disruptive aesthetic strategies used by Latino artists and cultural producers who shun standards of respectability that are typically used to conjure concrete minority identities. In place of works imbued with pride, redemption, or celebration, artists such as Ana Mendieta, Nao Bustamante, and the Chicano art collective known as Asco employ negative affects-shame, disgust, and unbelonging-to capture experiences that lie at the edge of the mainstream, inspirational Latino-centered social justice struggles. Drawing from a diverse expressive archive that ranges from performance art to performative testimonies of personal faith-based subjection, Alvarado illuminates modes of community formation and social critique defined by a refusal of identitarian coherence that nonetheless coalesce into Latino affiliation and possibility.

A medida que crecen, las grandes ciudades de hoy en dia van perdiendo significado como lugares entranables en los que los espacios publicos cercanos como la calle y la plaza tienden a ser lo que Auge caracterizo como "no lugares." Este libro rescata el significado del espacio primigenio de la ciudad y puerto de Mazatlan, desde el analisis de sus espacios emblematicos y el uso, desuso y nuevas reutilizaciones y representaciones que sus actores historicos les han conferido, haciendolos referentes de su identidad. Una de las aplicaciones practicas de esta investigacion es la Maqueta del Centro Historico de Mazatlan, cuya sede es Recrea, ubicada en la antigua Calle del Recreo, en el Viejo Mazatlan."