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Historically, minority women artists and scholars of color have been ignored by the White patriarchal canon of art education and the arts. I uncrate Josefina Aguilar's 14-piece clay "muñecas," which have been stored away in the Palmer Museum of Art for more than two decades, to demonstrate this lack of exposure. I position my own Latina history with Aguilar's in an attempt to examine the cultural sequestering of such artists by making visible how I operate from nepantla, a liminal space described by Gloria Anzaldúa. Using Anzaldúa's concepts of "autohistoria" and "autohistoria-teoria," I lay a theoretical framework of transcultural feminist curating, and I interweave the "testimonio" I have used to decolonize art education, art, and curating. As a witness to the Palmer Museum of Art's neglect in not showcasing Aguilar's works, I expose how women's life histories are often crated and stored in private spaces and seldom opened and appreciated.

In connecting personal stories with historical and cultural contexts, art becomes more accessible. We have integrated into this article our family stories that connect our personal experiences, historical, social, and cultural contexts with artmaking. They frame their family stories as "funds of knowledge," or knowledge and skills cultivated at home that are responsible for the well-being of a household (Esteban-Guitart & Moll, 2014; Moll, Amanti, Neff, & Gonzalez, 1992). To begin, they share their experiences of collaborative artmaking and learning through informal art spaces, their research, and how they connect to them. Next, they discuss the pedagogical implications of needlework. Their objective is to encourage active listening through stories that are connected to history and lived experiences of how art is learned in private spaces and how participants may also become active listeners and participants in their own histories. In this article, they argue that Chicago's "Birth Project," a large collaborative exchange between participants from the United States, New Zealand, and Canada that took place from 1980 to 1985, and the 1940s fabric patterns from "La Familia" use needlework to forge transnational spaces that are pedagogical. Through conversation, these spaces expand collaborations, creating support for women and those who navigate transnational spaces.

Metaphors of harvesting, roasting, brewing, and savoring derived from childhood memories of my abuela (grandmother) making coffee organize this visual essay on my research-based art, art-based research, and autoethnographic mapping. [ABSTRACT FROM AUTHOR]

A poem "White: Passing" by Leslie C. Sotomayor is presented. First Line: Light skin stretched over bones; Last Line: I am passing, passerby.