By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo reveals his final act of artistic resistance. As the conclusion for this "Dissecting Boston" series, Tzintzun created a public installation on the beach of Plum Island, Massachusetts. This installation, "Forest of Watchers," embodies the subaltern gaze. It destabilizes the colonial borderlines of history; borderlines we are all complicit in constructing.

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo contextualizes his acts of artistic resistance/vandalism. To accomplish this task, Tzintzun revels his previous intrusions within the border walls of the museum. From the Metropolitan Museum of Art in New York City to the Institute of Contemporary Art/Boston, Tzintzun employed art/activism to re-politicize the white walls of censured history.

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo explores his Mexican American mask and the layers of racism that lie underneath the surface of Plum Island, Massachusetts. To illustrate his argument, Tzintzun narrates the act of artistic rebellion he underwent to prevent the flattening of his Mexican American heritage into a "taco." Hard shell or soft shell, anyone?

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo delves deeper into the development/conquest of Plum Island, Massachusetts. In doing so, Tzintzun grapples with the correlations between real estate and border construction. All bordered communities exclude portions of the population. The question remains: Who are these "undesirables"?

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo explores the correlation between private ownership and climate change. By analyzing the 1920s partitioning of Plum Island, Massachusetts, Tzintzun dissects humanity's ownership addiction.

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo describes his own act of figmantary division on the beaches of Plum Island, Massachusetts. In a public installation piece (beach art) entitled the "Outer Limit," Tzintzun brings to light the correlations between borders, private property and human induced global warming.

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo explores the historical roots of New England's gentrified divisions, unraveling the complex history of colonial boundaries. 

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo reveals the "recipe" he used to unmask his Mexican-American identity (presented in a visual poem), a recipe that anyone can use to unravel the spectacle of their personal representation. 

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo dissects his Mexican American heritage in a visual poem, unravelling the projects borders of his identity.

By Tzintzun Aguilar-Izzo

As part of our ongoing Weaving the Streets project, Tzintzun Aguilar-Izzo describes his personal recipe for dissecting the borders of "American Identity" and the tools others need to join this artistic/activist process.

By Tzintzun Aguilar-Izzo

In his second post for our Weaving the Streets project, Tzintzun Aguilar-Izzo describes a firsthand account of one of his recent invasion “The Great Boston Wall of Gentrification,” contextualizing his act of resistance.

By Tzintzun Aguilar-Izzo

In his latest post for our Weaving the Streets project, Tzintzun Aguilar-Izzo introduces his new blog “Dissecting Boston: Weaving Together the Borderlines of American Identity” and the artistic activism soon to come.