ABSTRACT
This chapter examines the Chicana feminist museology that was modeled by Gloria Anzaldúa throughout her career. The author advocates for wider analysis of museum exhibition practices, particularly in exhibits that center the Mexico-USA border, in order to explain how knowledge about Mexican-American women is produced and disseminated.
To build from theorizations of identity to an examination of museum practice, the chapter analyzes contemporary art and museums. The article continues to develop Chicana feminist museology through the case study of the Hammer Museum’s exhibit Radical Women: Latin American Art 1960–1985, arguing that Chicana feminist museology is a viable and important practice for understanding the influence of museums as producers of knowledge. From this case study, this chapter defines a method for approaching museum studies not only through the framework of Chicana feminism but also decolonial epistemology.
