 Hello, I want to start this. Thank you for coming. Thank you, Art and Joan, the library, for the invitation to show some of my work. That's one of my newest pieces. But what should I say? Basically, my work stems from my early years in connection to the Chicano Movement, but through, by route of the San Francisco State and the San Francisco State Strike, I think that's where I kind of became conscious in terms of what was going on in the world. And it was really through the SS State Strike and I think the war in Vietnam and the opposition to the war in Vietnam during the time this is 1969 when I came to San Francisco to go to school. And then connected to that was the Chicano Movement and the struggles that ensued around the Chicano Movement and its relationship to the other struggles in the Bay Area, but also the struggles of other people of color in this country. And in particular, for me, it was the Cesar Chavez Movement, the Black Panther Party, and the American Indian Movement. And so my work is, there was no way I can escape not making political art after that and with my orientation to it through other political artists that were doing work, Rupert Garcia, and also the artists that were coming out of the mission in the 1970s and were doing work around culture and art. So it's all been connected. And I'm not sure what order these are in, but which one do I hit? The one over here on the right? OK, let's see where that's me. Oh, OK. So this piece is called Los Inocentes. I did it in 2011, and it was in response to the drug cartels and all the killings that were happening in Mexico. It was organized by Luis Pinedo. He was a Mexican artist, and he invited artists from Mexico and the US to respond to what was going on. There's a woodcut. So this is what I did. It was exhibited at the University of Guadalajara, and then it expanded from there, and it went to different parts of Mexico. I wasn't able to go, but the work was shown there. And then that piece was just shown last year as part of a couple of other pieces that I sent to an exhibition in Spain that basically the work was just sent digitally, and they printed them there, and they had an exhibition and all that. And also there's an exhibition that happened this year in Argentina, and the works went there, and they were part of a collection of graphic designers. So I guess I fit that realm, because I've done posters, and because these images or works have text in them, they fall into that category, so I've been able to use them that way. And because of the way works are used now electronically, I can basically send the images around the world, and they get seen in other places. And I guess this is in connection to memory. It's people's lives, and certainly these young men. I have an aunt that was murdered about four or five years ago in Chihuahua, Mexico. And I think it's connected to the drug cartel stuff. She was murdered in her home. And these works are basically all related to my experience or experience as a Chicano and as a Mexican. This piece was done, it's called Se Vende, or it's sells or sold. It was done for a portfolio on Posada, Jose Guadalupe Posada, and it was done through Rene Arceo, Arceo Press out of Chicago. And it's part of a portfolio of artists from the US and Mexico celebrating the 100-year legacy of Jose Guadalupe Posada. And so this was a little different for me, because this one kind of tells more of a story. There's a lot of different characters going on. And originally, when I was drawing it out, I realized that the police, the ICE man, was arresting more than just an individual because they just arrest these people and they deport them or they lock them up. But basically, they're arresting a culture, and that's why I added the headdress on it, because it's connected to the culture. And I know within my own family, my parents were born in Texas, but my dad's family, they're from Chihuahua. And I had to go back after my uncles. My uncles used to go back and forth. They lived in Salinas, but they would go back and forth. And once my uncle Joe died, there was no connection between the people that were living here and the ones in Mexico. So I actually went back and I reconnected with my family in Chihuahua. And we used to cross the border back and forth. When I was a kid, we used to go to Ohinaga, which is close to El Paso, and just walk across the border and go see the family and then walk back. But that's because of the wall and the borders. It's all that's all been stopped. And I haven't been able to go back and see anyone in Chihuahua for almost eight years now because of the, well, my family won't let me go because it's just too dangerous. And crossing the border is always a real task. I have to fly to El Paso. I have to cross into Juarez, take the Chihuahuanse, which is the bus to go to Chihuahua. But between Chihuahua and Chihuahua, it's like a three-hour bus ride. And you're going through the desert. And that's where the killing fields are for the young women that were murdered. So many young women were murdered from the maquiladores. And I've been stopped on that bus. Well, I haven't been stopped, but the bus has been stopped. And I sit there and I'm just like, don't look at these people, they get on the bus. They're usually, you know, got guns, they're plain clothes, they're military, they come in the bus and they just point to you and you and you come out, go get your things. They take you out on the bus and then the bus drives away. And I'm sitting there and I'm like, let me just get to the border. That's just let me get to the border, right? So it's a very scary proposition, but I haven't been able to go because it's just not safe, you know, for me to go like that. But that's what the border has created. I was in Charlotte, North Carolina in September of during this time of year, last year, doing a residency at the McCall Center and I did some things on identity and this was one of the pieces that I did related to the undocumented because there's such an attack going on in this country right now for people that are working in the fields and working in the canneries and in the hotels and in every industry, construction, whatever, there's just like a total attack, especially now on deportation and all this. So this is a linoleum cut and silk screen combination. The figure right in the middle is my cousin, Micaela from Chihuahua that I met when I went there for the first time and I met her. This was, the picture was taken a while back, but I used it because she actually is living in Albuquerque, New Mexico. Now she works in one of the, she's a really hardworking person. She works like two jobs in the casinos there in Albuquerque. So that was the piece that I did there. And then when I got to North Carolina, I had never been in the South, but I ended up doing, this was the first piece that I did. It's a woodcut on how I was feeling about race relations in this country and the things that are going on. So this is called the doggy dog world. And I added, after I did the Boner Ladder, then I added the sheriff's star because really even if, of all the things that you see today and recently the things that are going on in North Carolina, you always see the police and they're always protecting property. That's their first, that's the first thing that they care about. Not human life, but property. They're out there to protect property. And so anyway, that's what I did. And I kind of was thinking about MC Escher when I did this thing, even though it's not kind of, I can't do what MC Escher did, but I was thinking of the black and white and the way things move from one to another, like a metamorphosis. And so that's what I did with this piece. I think that's it, right? Yeah, thank you.