Guadalupe Maravilla
Requiem for my border crossing (Collaborative drawing between the undocumented) #12
2018
Not on view
Date
2018
Classification
Drawings
Medium
Inkjet print with graphite pencil and fiber-tipped pen
Dimensions
Sheet: 31 × 91 in. (78.7 × 231.1 cm)
Accession number
2019.14
Credit line
Purchase, with funds from the Director’s Discretionary Fund and Sheree and Jerry Friedman
Rights and reproductions
© Guadalupe Maravilla
Exhibitions
Installation photography
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Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). Left wall, clockwise from top left: Robert Adams, Colorado, c. 1968-72; Robert Adams, Colorado Springs, Colorado, 1979, print date unknown; Robert Adams, Sheridan Boulevard, Lakewood, c. 1970; Robert Adams, Untitled, 1968-72; Robert Adams, Untitled, n.d.; Robert Adams, Untitled, 1968-72; Robert Adams, Colorado Springs, 1970; Robert Adams, Colorado, c. 1973; From left to right: Amalia Mesa-Bains, Cihuateotl with Hand Mirror from Venus Envy Chapter III: Cihuatlampa, the Place of theGiant Women, 1997-2022; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Teresita Fernández, Fire (America) 3, 2016. Photograph by Ron Amstutz
From the exhibition Shifting Landscapes
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Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). Top to bottom: Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Enrique Chagoya, Les Aventures des Cannibales Modernistes, 1999. Photograph by Ron Amstutz
From the exhibition Shifting Landscapes
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Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Guadalupe Maravilla, Tripa Chuca, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #3, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #10, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #8, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #7, 2018; Guadalupe Maravilla, Requiem for my border crossing and my undocumented father’s #4, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #11, 2018. Photograph by Ron Amstutz
From the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art
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Installation view of Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art (Whitney Museum of American Art, New York, July 13–September 30, 2018). From left to right: Guadalupe Maravilla, Requiem for my border crossing and my undocumented father’s #1, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #9, 2018; Guadalupe Maravilla, Requiem for my border crossing and my undocumented father’s #6, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Guadalupe Maravilla, Tripa Chuca, 2018; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #3, 2016–18; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #10, 2018. Photograph by Ron Amstutz
From the exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art