On February 7, the Cheech Marin Center for Chicano Art and Culture in Riverside, California, launched an exhibition titled Chicano Camera Culture: A Photographic History, 1966 to 2026. This significant showcase features around 150 pieces from 45 photographers across the United States, marking the largest exhibition ever hosted by The Cheech. It serves as a comprehensive exploration of Chicano photography, highlighting the contributions of artists who documented the Chicano civil rights movement over the past six decades.
Curating such a pivotal exhibition comes with a profound sense of responsibility to various stakeholders, including the artists, the institution, and the broader cultural community. The choices made during this process influence how Chicano photography is perceived and integrated into the larger narrative of art history. The presence of nearly every living photographer from the 1960s onward at the opening emphasized the importance of acknowledging histories that have often been overlooked.
However, the decision to remove a particular work from the exhibition was not made lightly. On March 17, allegations surfaced regarding Cesar Chavez, the leader of the United Farm Workers of America (UFW), involving serious misconduct against women and girls associated with the movement. This revelation prompted a critical reassessment of Chavez, who had long been celebrated as a hero of Chicano civil rights.
Following a discussion with the interim director of The Cheech, Valerie Found, it was decided that a 1969 portrait of Chavez by George Rodriguez would be removed from the exhibition. Initially intended to highlight Chavez's role in unionizing California farmworkers and the contributions of Chicano photographers, the image became too controversial in light of the new information. The decision was made swiftly after the New York Times reported on the allegations against Chavez.
Throughout my 35 years in curation, I have never had to remove a work from an exhibition. Each image included in Chicano Camera Culture was carefully considered, knowing they would represent an essential part of a previously untold history. Removing the photograph did not diminish Rodriguez's significance; he remains a respected documentarian who has captured critical moments in the movement's history.
In collaboration with Rodriguez, a new photograph was introduced to the exhibition, showcasing a group of African-American farmworkers holding protest signs. This image reframes the narrative around Chavez, emphasizing that the farmworkers' struggle was a collective effort involving diverse communities, including African Americans, Filipinos, and Puerto Ricans.
Dolores Huerta, another key figure in the movement, is also represented in the exhibition. At 96 years old, her contributions to Latino civil rights remain underappreciated, particularly considering her dedication to activism while raising 11 children. Her story, much like the broader narrative of the Chicano movement, continues to evolve.
As the exhibition title suggests, Chicano Camera Culture reflects a cultural ethos rather than a singular style. The values of political solidarity, cultural pride, and a commitment to human dignity resonate throughout the works displayed. This exhibition serves as a reminder that movements are larger than any individual, and histories are always open to revision.
In striving to honor the core values of Chicano culture, the decision to remove the photograph was one I could embrace. It allows for a more nuanced understanding of the movement's history, paving the way for future explorations of the collective contributions that shaped it.