Abstract
This article discusses the development of my post-studio, community-specific, site-responsive, socially engaged art practice as a method of creative research intersecting working-class, performance, and Latin American studies perspectives to discuss floriculture laborers and their work in Bogotá, Colombia, and Cayambe and Quito, Ecuador. I address my creative process as a Los Angeles–based artist laborer, facing the challenges of creating working-class transnational exhibition narratives and exploring the coproduction of community engagement exhibitions.
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