US Latinx Art Forum

Dedicated to the art and art history of the United States Latinx community.



The U.S. Latinx Art Forum champions artists and arts professionals engaged in research, studio practice, pedagogy, and writing. We generate and support initiatives that advance the vitality of Latinx art through an intergenerational network that spans academia, art institutions, and collections.



We invite you to join the U.S. Latinx Art Forum (USLAF), a new organization dedicated to the art and art history of the United States Latinx community. Our goal in founding USLAF is to establish an unprecedented network of university and college faculty, independent researchers, artists, museum professionals, critics, and graduate students with an interest in art and visual culture by and about U.S. Latinxs. Your membership in USLAF will help expand this network and demonstrate the vitality and importance of US Latinx art and art history.

To join, please email with the following information.

(note: membership is free for the academic year 2017-2018):

Position and Institution (or indicate Independent Scholar/Curator/Artist):

Preferred Mailing Address:

Email Address:


U.S. Latinx art continues to be underrepresented within the academy, museums, and galleries.




USLAF emerges partly from the issues raised in the two-part scholarly session “Imagining a U.S. Latina/o Art History,” held in New York in February 2015 at the College Art Association Annual Conference. Central among these is the ongoing marginalization of U.S. Latinx art within the academy and specifically within both “American” and “Latin American” art history.
The sessions, chaired by Adriana Zavala, included presentations by Elizabeth Adan, Taína Caragol, Josh T Franco, Sonja Gandert, Guisela Latorre, E. Carmen Ramos, and Rose Salseda. The panelists were joined by Constance Cortez as discussant and roundtable participants Karen Mary Davalos, Jennifer Gonzalez, Cherise Smith, and Charlene Villaseñor Black. Panelists discussed scholarly and institutional frameworks for studying and advancing knowledge about U.S. Latinx art and artists and we debated the advantages and disadvantages of continuing to speak about art from the perspective of identity-based frameworks. We ask that you join us as a member of USLAF because, despite growth in visibility, U.S. Latinx art continues to be underrepresented within the academy, museums, and galleries and is often subsumed and rendered invisible through association to American or Latin American art and art history. While we recognize the importance of resisting categories, we affirm the value of creating a forum to specifically support scholarship, writing, and historical inquiry about U.S. Latinx art and visual culture. We also maintain the importance of creating a network of mentorship and professional development to ensure its continued progress and vitality within academia, exhibition spaces, and beyond.



CAA Annual Conference:

Updated Data and Curated List of CAA 2018 Sessions

Statement and Curated Lists for CAA 2018 Call for Papers and PST: LA/LA Exhibitions

by Mary Thomas and Rose G. Salseda

Updated Data and Curated List of CAA 2017 Sessions

Directors Letter 2016

Call to Action: Latinx Art at CAA 2017



July 2018

August 2017


Recent Publications/Scholarship/Practice:

• Arlene Davila, “Latino/a Art: Race and the Illusion of Equity,” Art21 Magazine, May/June 2016

• Naiomy Guerrero, editorial Artsy “America’s Most Expensive Artist is Latinx—but No One Knows It

• Karen Mary Davalos, "Champions of Chicano Art Need to Face Reality: A Response to Cheech Marin’s New Art Center", ARTnetnews, May 8th, 2017

• Maximiliano Duron, ‘We Have to Mobilize’: Latinx Art Scholars Talk Representation with the College Art Association, ARTnews, Februrary 16, 2017

U.S. Latinx Arts Future Symposium

White Paper: U.S. Latinx Arts Future Symposium

• Maximiliano Duron, “Study: Latino Art Underrepresented at College Art Association’s Annual Conference," ARTnews, September 20, 2016

• Seph Rodney, “Group Calls for Greater Latinx Participation in the College Art Association Conference," Hyperallergic, August 30, 2016

• "Dossier: Teaching Chicana/o and Latina/o Art History in the Twenty-First Century,” Aztlan: A Journal of Chicano Studies, Volume 40, Number 1 (Spring 2015): 115-216.

• Villaseñor Black/Introduction: P’adelante, P’atrás

• Zavala/Latin@ Art at the Intersection

• Vargas/Que Onda? “What’s Happening?”: Chicano Art in Twenty-First Century America

• Gaspar de Alba and Villaseñor Black/Protest and Praxis in the Arts

• López/Artists as Migrant Workers: From Community to University Teaching

• Cornejo/“Does That Come with a Hyphen? A Space?”: The Question of Central American-Americans in Latino Art and Pedagogy

• Barnet-Sanchez, González, Tejada, Gaspar de Alba, Villaseñor Black, and Fox/Teaching Chicana/o and Latina/o Art in Practice: Six Syllabi


Archival Resources:

Latino and Latin American collections, Archives of American Art, Smithsonian Institution

Chicano and Latino Collections, California Ethnic and Multicultural Archives, UC Santa Barbara

Chicano Studies Research Center, UC Los Angeles

Dominican Library, CUNY Dominican Studies Institute

Nettie Lee Benson Latin American Collection, UT Austin

Mexican American collections, UT San Antonio

Centro Library and Archives, Center for Puerto Rican Studies, Hunter College

archival collections, Institute for Latino Studies, University of Notre Dame

ICAA/MFAH  Documents of Latino and Latin American Art



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