Figure 1. Flier from 1975 performance in Central Park. Clockwise from top: Lucky Cienfuegos, Miguel Piñero, and Miguel Algarín. Sandra María Esteves, who also took part in the performance, is missing from the photo. Courtesy Billy Rose Theatre Division, New York Public Library.

Figure 2. Program from Poets of the City, including Lucky Cienfuegos, Miguel Piñero, Miguel Algarín, and Sandra María Esteves. Courtesy Billy Rose Theatre Division, New York Public Library.

Figure 3. Poster by Antonio Martorell featuring a portrait of Pedro Albizu Campos and commemorating El Grito de Jayuya (the Jayuya Revolt) in Puerto Rico and the 1954 attack on the House of Representatives, led by female nationalist Blanca Canales and Lolita Lebrón, respectively. Reprinted in Palante (the Young Lords Party’s newsletter) 2.3 (1970): 35. Courtesy Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY.

Figure 4. Illustration by Jaime Carrero humorously addressing the complexity of what it means to be Puerto Rican. From Notes of Neorican Seminar (1972). Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY. Courtesy of Maria Dolores Carrero and the Carrero family.

Figure 5. Cover of Notes of Neorican Seminar (1972) by Jaime Carrero, comically illustrating how Puerto Ricans in New York negotiate living between two cultures and languages. Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY. Courtesy of Maria Dolores Carrero and the Carrero family.

Figure 6. Jaime Carrero reveals the trauma of cultural disavowal in his poem “Neo-Rican Lessons” and illustration of a decapitated man. Reprinted in Notes of Neorican Seminar (1972) from the San Juan Review. Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY. Courtesy of Maria Dolores Carrero and the Carrero family.

Figure 7. Sandra María Esteves commemorates the life of Martín “Tito” Pérez with her poem “Eulogy for Martín Pérez” and her angel line drawing, Yerba Buena (1980). Courtesy of the poet and artist.

Figure 8. Flier in Spanish protesting the unexplained death of Martín “Tito” Pérez while in prison. Courtesy Sandra María Esteves.

Figure 9. Drawing by Sandra María Esteves, who had filed charges against Eduardo Figueroa and Joseph Papp, the director and producer of the Public Theater. The court trial is here ironically presented as a performance titled The Lawsuit (1979).

Figure 10. Flier advertising performance of New Rican Village’s salsa performance, July 17, 1978 at the Delacorte Theatre. Designed by Néstor Otero. Courtesy of Sandra María Esteves.

Figure 11. Poster of New Rican Village performance, Summer 1978. Designed by Sandra María Esteves. Courtesy of the artist.

Figure 12. Program from Boogie Rican Boulevard (2002) a solo performance written and performed by Caridad de la Luz and sponsored by Urban Latino, Café Bustelo, and Nuyorican Poets Café.

Figure 13. Poster of the musical version of Boogie Rican Boulevard (2009), performed at the Puerto Rican Traveling Theater, includes Caridad de la Luz (aka La Bruja) as Mamá, Pito, and Don José and portrait of cast members, who play different family members.

Figure 14. Photograph for La Nubia Latina (1997), Nilaja Sun holds a mask, reminiscent of her bluefacing to become Smurfette, to express her Afro-Latina identity.

Figure 15. Aya de León as a wigga, a white teenage wannabe hip hop thug, in Thieves in the Temple (2002). Photo by Deanne Fitzmaurice. Courtesy of San Francisco Chronicle/Polaris.

Figure 16. Aya de León as Lady Triple X in Thieves in the Temple (2002). De León stages a hypersexualized constructed caricature as a theatrical intervention to shatter the social prescriptions of Black women as hos, bitches, and pimps.

Figure 17. Poem Oye me que mi espíritu habla with drawing by Sandra María Esteves.

Figure 18. Mandala de Elegua (2005), 18”x 18” mixed media decoupage mandala on canvas. Courtesy of artist Sandra María Esteves.

Figure 19. Handmade earrings by Sandra María Esteves. Clockwise from top left: “Elegba Portals,” “Elegba Spirals,” “Ochun Egypt,” and “Elegba Dragons.”

Figure 20. Flier for La Cura: A Ritual of Healing and Feeling, Nuyorican Poets Café, 1976. Designed by Sandra María Esteves. Courtesy of artist.