Monument Quilt Block is a 8’x8’ fabric and sharpie marker piece created in 2017 by Eva Salazar, FORCE: Upsetting Rape Culture, and Anonymous Artists. The quilt square is divided into four quadrants and has a variety of fabric squares in different colors and patterns with a solid red background. Salazar’s is in the upper left quadrant. Salazar’s block is solid red and is flanked by two thick, white columns. The center is composed of block letters in uppercase which are cut out of pale green, smooth fabric that spell out a message in Spanish (From top left to bottom right): “No hay culpa en tu silencio asegura. Tu sobre-vivencia.” There are several small, handwritten messages in dark blue sharpie markers in some of the letters that spell out an additional message. (From top left to bottom right): “Yo temo que mi Papá me culparia por lo que pasó.” The upper right panel is solid red, with uppercase black letters written in sharpie in the center saying “My body is beyond what you made it.” Right underneath the end of the sentence, there is a rectangle of white fabric with additional black sharpie writing inside partially in all caps and then lowercase within two parentheses, which reads: “I am healing (no thanks to you).” The bottom left quadrant has a solid red background with a folded over, peach-colored, wrinkled-looking piece of cloth that creates the shape of a sideways V. The bottom right quadrant is a solid red with three plant stems in the center with light green and lavender leaves on them, all made out of cut up pieces of fabric. The leaves have the details of their veins drawn on in green marker. There is one leaf off of the stems in the upper right corner of the block.

Uno ha creído a veces, en medio de este camino sin orillas, que nada habría después; que no se podría encontrar nada al otro lado, al final de esta llanura rajada de grietas y de arroyos secos. Pero si, hay algo  is a woven tapestry that appears rough in texture, with frayed edges that are long and black, measuring fifty by sixty inches. The center of the tapestry is woven to appear fainter with the colors and the large words in block print, which are on a lighter off-white, jagged part of the design to look almost like a torn page from a novel. The words read in Spanish, from top left to bottom right: “Uno ha creído a veces, en medio de este camino sin orillas, que nada habría después; que no se podría encontrar nada al otro lado, al final de esta llanura rajada de grietas y de arroyos secos. Pero si, hay algo.”

No tenía ganas de nada, solo de vivir is a cotton and hand dyed wool, brocade woven cloth, ink, sand, and text from Juan Rulfo’s short story “Tell them not to kill me!” from his collection “El Llano en Llamas” or “The Plain in Flames,” measuring forty by seventy inches. It lays on top of a rectangular platform. In the center is a vertical, rectangular woven tapestry. It appears rough in texture, and the weaving is made up of black, gray, cream, and white wool. The colors weave in and out of each other, except for the top right and top left corners, which are woven solid black squares. The center of the tapestry has the imprint of a person in black ink. Some parts of the figure are missing, appearing like a person laid on top of it. The figure is curled up, with the head at the top of the tapestry and the feet at the bottom. The figure’s right leg is pointing away from the rest of the body, with the left pointing down. The hands are extended, the right one palm side down and the left palm up. The sides around the tapestry on the platform are covered with sand. In the center of the tapestry, the surface is raised to emphasize the remnant of the body that is imprinted into the weaving, as if to make it appear that someone is lying under it.

To Have and To Hold is a collection of soda fired and electric fired stoneware pieces, each of the seventy pieces measuring approximately five by two inches with variable dimensions. The objects are various shades of brown, tan, and cream, with some parts being shiny or polished. They are all irregularly shaped, which the subject can feel when picking them up. There are also a couple of translucent, lighter-colored stones or fragments. Viewers are also invited to pick these pieces up and feel the variations of smooth and rough surfaces. Some pieces may even feel slightly jagged and as if they jut out in odd places.