¶ … reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles," Pacific Standard Time: LA/LA will initiate dialogue about the role of Chicano/a culture in the arts of Southern California throughout the past several generations. The J. Paul Getty partners with dozens of other California art institutions, galleries, and museums to develop the collection, which will not be limited to visual art but which will also include dance, music, and performance art. However, the Getty has already held two previous Pacific Standard Time events, the first of which received more than twice the amount of funding than this edition focusing on Chicano/a art. Although the LA/LA exhibition is welcome, it is also long past due and its secondary status symbolically reflects the role of Chicano/a artists within the Southern California canon, as well as the status and perception of Chicano/a culture in general. The current exhibitions and permanent collections at the Getty center do not reflect general interest in Chicano/a art and no Chicano/a artists are featured. In spite of this fact, the social and political ethos that has consistently characterized the arts of Latin America find their parallels in the Modernist pieces on display at the Getty. One example is French artist Jean-Francois Millet's "Man with a Hoe," which depicts the titular, nameless character as a man clearly beaten down by an exploitative labor system. As smoke rises in the distance, the man leans his body weight on his hoe and appears about to collapse from exhaustion. The color palette is dull and earthy, reflective of the agricultural industries and results of thankless labor. Although countless Latin American artists, particularly muralists like Diego Rivera, had systematically set out to convey similar messages about labor exploitation in their work, the Getty lacks in its collection due homage to the contributions of art south of the border. Vargas warns against stereotyping "Chican@" art as...

Modernists dealt directly with the potency of sexuality and the sexual response, leading to problems such as censorship and censure (Butler, Modernism). In "The Good Reputation, Sleeping," the viewer immediately discerns the modernist conflicts between sexually liberated women and the rigid social norms that confine them, which are symbolized by the confining undergarments and particularly by the cactus prickles next to the woman's body. The cactus symbolize barbed wire fencing or other such restrictive imprisonments, and yet because the woman is simply lying and sleeping, she is technically free to get up and leave at any time. Thus, Bravo engages in a discourse about power, a core feature of the shift from modernism to postmodernism (Butler, Postmodernism).
More decisively modernist in its approach to power structures, class, and gender in society is Hector Garcia's photograph "Islate de Injusticia en la gran Ciudad de Mexico," in which a young girl who sleeps on the street stares directly at the viewer. Here, the photographer depicts poverty in all its realism, much as Millet achieves in his painting of the man with the hoe. Instead of postmodern meta-analysis, both Garcia and Millet simply present the raw imagery of class conflict. Postmodernists like Bravo add extra symbolic dimensions, drawing attention to…