Full article by Laura A. L. Wellen
In each of the seven installations, a certain type of work is happening – what de Anda describes as “creative resistance.” We see the social problem, and we see organizers using visual data to connect with a community and to advocate for change. Where this round really shines, though, is in the contrast between two installations: The Natural History Museum, presented in a collaboration between New York-based Not an Alternative and T.E.J.A.S., and the installation KARANKAWA CARANCAHUA CARANCAGUA KARANKAWAY by Nura Montiel and John Pluecker. Both ask for a deeper engagement and careful looking at a specific place–Houston–over time. And both pose significant questions about museum and community, politics and organizing, spaces between things and people, and how change happens. Most importantly, they consider how Houston’s own history is based on making certain peoples, histories, and things invisible.