Cholo and clone came together right above their lips.
Queer Networks in Chicano L. Centered in the frame is a tight white T-shirt emblazoned with MARICON, the name of an early iteration of a collaborative project between Terrill and Sandoval, to be worn at protests and pride parades. Like the mustache, the shirt addresses its own twoness: If you identified as both, you could wear one yourself!
Like Sister Corita, Terrill imagined an audience beyond the art world. Sandoval seems interested less in individuals than in the construction of a cultural space from available signifiers. His figures are cinched with a pose, an attitude of gay desire.
His graphic style was also employed by the younger Terrill in such works as Dormido, a screen print depicting a black-mustached man embracing a blond-mustached one. Their shared aesthetic made legible an experience outside the interdictions of gay racism and Chicano machismo.
His postcards depict the figure in bandanna and tank in front of a background of floating tacos, or bare-assed, balls dangling, in work boots and tube socks, B. Oh man, I want it so bad!
Page from Homeboy Beautiful 1 When they pull into an alley near Whittier Boulevard to make out, a woman attacks them: Cabrones, Maricones get the fuck outa my alley you faggots scum get out before I kick your ass! But any peace was temporary. The AIDS crisis wore on; their community was decimated.
Its subject is a newly synthesized queer Latino. The characters watch over each other: His friends intervene, and he realizes he is putting himself and others at risk.