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Newly surfaced documents . . . serve to elucidate our understanding of Oller’s artistic endeavors as he navigated the political waters of the US imperialist regime.

Judithe Hernández and Patssi Valdez: One Path Two Journeys Curated by: Thomas Canavan Millard Sheets Art Center at Fairplex, Pomona, California, September 1, 2017–January 28, 2018 Laura Aguilar: Show and Tell Curated by: Sybil Venegas Vincent Price Art Museum, East Los Angeles College, September 16, 2017–February 10, 2018 Reviewed by: Charlene Villaseñor Black, Professor, Department of Art History and César E. Chávez Department of Chicana/o Studies, University of California, Los Angeles

Curated by: Cecilia Fajardo-Hill and Andrea Guinta Hammer Museum, University of California, Los Angeles, September 16, 2017-February 10, 2018 Reviewed by: Alison Fraunhar, Associate Professor, Department of Art and Design, Saint Xavier University, Chicago

Painted in Mexico, 1700–1790: Pinxit Mexici Curated by: Ilona Katzew with Jamie Cuadriello, Paula Mues Orts, and Luisa Elena Alcala Los Angeles County Museum of Art, November 19, 2017–March 18, 2018 Visual Voyages: Images of Latin American Nature from Columbus to Darwin Curated by: Daniela Bleichmar and Catherine Hess The Huntington Library, San Marino, California, September 16, 2017-January 8, 2018 Modern Masters from Latin America: The Pérez Simón Collection Curated by: Roxana Velásquez Martínez del Campo San Diego Museum of Art, October 21, 2017-March 11, 2018 Reviewed by: Anna O. Marley, Curator of Historical American Art and Director, Center for the Study of the American Artist, Pennsylvania Academy of the Fine Arts

Circles and Circuits I: History and Art of the Chinese Caribbean Diaspora Circles and Circuits II: Contemporary Chinese Caribbean Art Curated by: Alexandra Chang and Steven Y. Wong, in coordination with Mar Hollingsworth California African American Museum, Los Angeles, September 15, 2017–February 25, 2018; Chinese American Museum, Los Angeles, September 15, 2017–March 11, 2018 Reviewed by: I. A. Choudhury, PhD Candidate, Stanford University

California Mexicana: Missions to Murals, 1820–1930 Curated by: Katherine Manthorne and Alberto Nulman Magidin Laguna Art Museum, Laguna Beach, CA, October 15, 2017- January 14, 2018 Myth and Mirage: Inland Southern California, Birthplace of the Spanish Colonial Revival Curated by: Lindsey Rossi Riverside Art Museum, CA, September 22, 2017-January 28, 2018 Found in Translation: Design in California and Mexico, 1915–1985 Curated by: Wendy Kaplan and Staci Steinberger Los Angeles County Museum of Art, September 17, 2017-April 1, 2018 Reviewed by: Patrick Frank, independent author

Curated by: Clement Hanami with Miho Hagino, Kris Kuramitsu, Michiko Okano, Jaime Higa, and Claudia Sobral Japanese American National Museum (JANM), Los Angeles, September 17, 2017–February 25, 2018 Reviewed by: Marco Katz Montiel, PhD, Research Fellow, Instituto Franklin, Universidad de Alcalá, Spain

Discourses of health, hygiene, and progress—visual and textual—provide the primary metric with which to recalibrate thinking about the Panama Canal enterprise and zone as an ecology located at the nexus of intersecting discourses.

Consider the humble raisin. In a world where foodstuffs are increasingly dissociated from their place of origin, why does the raisin continue to be associated with one locale, when they are in fact grown globally, from Chile and Argentina to Turkey? We should ask why when we “think raisins” do we “think California,” as an oft-repeated advertising mantra instructs us?

The front of the building that houses El Museo del Barrio features an artwork by the conceptual artist Luis Camnitzer that simply states: “A museum is a school: the artist learns to communicate, the public learns to make connections.”