top/front: An Education (side A), bottom/back: A Metamorphosis (side B), retired chalkboard, chalk, wheat pasted fliers, enamel paint, black coffee, 2024

Theatre, Theatre, archival inkjet print, 30 x 25 inches, 2024

A Wilderness of Mirrors, archival inkjet print, 30 x 30 inches, 2024

all institutions and all forms of authority maintain unnecessary coercion and hierarchies (Black Flag), archival inkjet print, 60 x 17 inches, 2024

In the Time of Deap Memory (No Future), archival inkjet print, 60 x 21 inches, 2023

In the Time of Deap Memory (No Future)[2], archival inkjet print, 60 x 21 inches, 2023

Dia de los Muertos Estilo Americano (fan fiction), archival inkjet print, 13 x 19 inches, 2022

Sin Fronteras/Stateless Part 4 Scene 5 (still from a nonexistent film), digital print on outdoor mesh, 98.5 x 177.3 inches, 2022

Memory Screen, single channel video with sound, 58 min. 30 sec., 2021

Weird Revolution Redux (Memento Mori), Cyanotypes, edition of 3, plus 1 AP, 25 x 37 inches framed, 2021

The Slow Cancellation of the Future (firstman/clansman) series, 20 Polaroid photographs mounted on archival museum board, 12 x 72 inches framed, 2021

Foreign Policy II (Operation Wetback), Cyanotype on archival paper, 37 x 25 inches framed, 2021

Foreign Policy (Burn, Hollywood, Burn remix), Cyanotypes, edition of 3, plus 1 AP, 37 x 25 inches framed, 2021

Foreign Policy (Burn, Hollywood, Burn remix), Cyanotypes, edition of 3, plus 1 AP, 37 x 25 inches framed, 2021


Ricardo Flores Magon in St. Louis (from the Tierra y Libertad project with Melissa Bauer), Inscribed bronze plaque, 8 x 15 inches, 2021

Ricardo Flores Magon in St. Louis (from the Tierra y Libertad project with Melissa Bauer), Inscribed bronze plaque, 8 x 15 inches, 2021


Temporal Pincer (Brown Power/Tenet remix), clamp, books from personal collection and Ojalá Latinx Community Library (with Miriam Ruiz), Dimensions variable.2021

Temporal Pincer (Brown Power/Tenet remix), clamp, books from personal collection and Ojalá Latinx Community Library (with Miriam Ruiz), Dimensions variable.2021


Wave of Mutilation (Thanos Infinity Gauntlet remix), 6 archival inkjet prints mounted on foam board 37 x 25 inches framed, 2020

Wave of Mutilation (Thanos Infinity Gauntlet remix), 6 archival inkjet prints mounted on foam board 37 x 25 inches framed, 2020

WhiteNoise/BlindContour series (Skull, Books, Headphones, Fruit), archival ink on graph journal paper, 12 x 8.5 inches, 2020

WhiteNoise/BlindContour series (Skull, Books, Headphones, Fruit), archival ink on graph journal paper, 12 x 8.5 inches, 2020

WhiteNoise/BlindContour series (Skull, Books, Headphones), archival ink on graph journal paper, 12 x 8.5 inches, 2020

WhiteNoise/BlindContour series (Skull, Books, Headphones), archival ink on graph journal paper, 12 x 8.5 inches, 2020

WhiteNoise/BlindContour (Skull, Books, Headphones), archival ink on graph journal paper, 12 x 8.5 inches, 2020

WhiteNoise/BlindContour (Skull, Books, Headphones), archival ink on graph journal paper, 12 x 8.5 inches, 2020

Shelter in Place (El Norte remix), 15 framed Polaroid photographs, 18 x 24 inches, 2020

Shelter in Place (El Norte remix), 15 framed Polaroid photographs, 18 x 24 inches, 2020

Wandering Star (The Texas Chainsaw Massacre remix), 20 framed Polaroid photographs, 24 x 30 inches, 2019

Wandering Star (The Texas Chainsaw Massacre remix), 20 framed Polaroid photographs, 24 x 30 inches, 2019

Sin Fronteras/Stateless (still from a nonexistent film), digitally printed vinyl banner, 60 x 108 inches, 2019Masses of endangered communities flee their homes in search of safety and hope. They leave behind family and loved ones to escape war, persecution, economic hardship, hunger, and worsening climate and environmental conditions. Everything is left behind for a chance at survival. Traversing brutal conditions and terrain over thousands of miles, they are met with open arms. Their gracious hosts welcome them as their own. They are fed. Housed. And encouraged to maintain their own traditions and tongues as they settle into their new lives. The end of the treacherous journey is an unbelievable relief. Their needs and expectations have exceeded their wildest dreams. It is unimaginable. Unthinkable. It is disorienting. Is this really an oasis and not a mirage? And are we only capable of accepting truth through the concept of fiction?The cloud image was sourced from an online stock image archive and digitally manipulated. The subtitles are the from the 2016 Mexican science fiction film Region Salvage (The Untamed).

Sin Fronteras/Stateless (still from a nonexistent film), digitally printed vinyl banner, 60 x 108 inches, 2019

Masses of endangered communities flee their homes in search of safety and hope. They leave behind family and loved ones to escape war, persecution, economic hardship, hunger, and worsening climate and environmental conditions. Everything is left behind for a chance at survival. Traversing brutal conditions and terrain over thousands of miles, they are met with open arms. Their gracious hosts welcome them as their own. They are fed. Housed. And encouraged to maintain their own traditions and tongues as they settle into their new lives. The end of the treacherous journey is an unbelievable relief. Their needs and expectations have exceeded their wildest dreams. It is unimaginable. Unthinkable. It is disorienting. Is this really an oasis and not a mirage? And are we only capable of accepting truth through the concept of fiction?

The cloud image was sourced from an online stock image archive and digitally manipulated. The subtitles are the from the 2016 Mexican science fiction film Region Salvage (The Untamed).

Revisionist History in Red (Marlon Brando as Emiliano Zapata), graphite, charcoal, toner, pigment from Takis Fuego tortilla chips, 9 x 12 inches, 2019. In private collection.

Revisionist History in Red (Marlon Brando as Emiliano Zapata), graphite, charcoal, toner, pigment from Takis Fuego tortilla chips, 9 x 12 inches, 2019. In private collection.

Revisionist History in Yellow (Marlon Brando as Emiliano Zapata), graphite, charcoal, toner, pigment from Doritos Nacho Cheese tortilla chips, 9 x 12 inches, 2019

Revisionist History in Yellow (Marlon Brando as Emiliano Zapata), graphite, charcoal, toner, pigment from Doritos Nacho Cheese tortilla chips, 9 x 12 inches, 2019

Mentor/Tormentor (dragged across the beach), archival inkjet print, 36 x 24 inches, 2019

Mentor/Tormentor (dragged across the beach), archival inkjet print, 36 x 24 inches, 2019

Mentor/Tormentor (North Sea), archival inkjet print, 36 x 24 inches, 2019

Mentor/Tormentor (North Sea), archival inkjet print, 36 x 24 inches, 2019

Hell is Chrome (Secret Wars redux), found footage looped single channel video with sound, 10 min. 44 sec., 2019

Hell is Chrome (Secret Wars redux), found footage looped single channel video with sound, 10 min. 44 sec., 2019

Ojála (Tizoc), single channel video with sound. 32 min., 2019. Made in collaboration with Miriam Ruiz.A brief scene from the 1957 film Tizoc is extended over 30 minutes. The sonic and visual elements are manipulated to resemble a psychedelic experience. The "acid trip" is achieved by video editing software and not the consumption of psychedelic drugs. Dechronicization, depersonalization, and dynamization are reached through color saturation, electronic phasing, reverb, looping, multi-image layering, and slow motion. As the scene fades to black and we arrive at the end of the trip, we encounter the black mirror reflection of a monitor revealing artist and apparatus capturing this moment.

Ojála (Tizoc), single channel video with sound. 32 min., 2019. Made in collaboration with Miriam Ruiz.

A brief scene from the 1957 film Tizoc is extended over 30 minutes. The sonic and visual elements are manipulated to resemble a psychedelic experience. The "acid trip" is achieved by video editing software and not the consumption of psychedelic drugs. Dechronicization, depersonalization, and dynamization are reached through color saturation, electronic phasing, reverb, looping, multi-image layering, and slow motion. As the scene fades to black and we arrive at the end of the trip, we encounter the black mirror reflection of a monitor revealing artist and apparatus capturing this moment.

La nación en llamas, digital print on nylon fabric, 2019. Made in collaboration with Miriam Ruiz.

La nación en llamas represents a nation in crisis, a nation witnessing the destruction of its oft-touted foundational beliefs, a fractured and factious nation, “a nation in flames”.

Come On Earth (Quetzalcoatl), single channel video and sound. Contains found footage of Canek vs Mil Mascaras wrestling match, a Lowrider car show in Denver, and samples an audio portion of The Moon by The Microphones, 2 min. 45 sec.,2018

Come On Earth (Quetzalcoatl), single channel video and sound. Contains found footage of Canek vs Mil Mascaras wrestling match, a Lowrider car show in Denver, and samples an audio portion of The Moon by The Microphones, 2 min. 45 sec.,2018

Southern Studies (folklore), single channel video and sound. Mississippi highways 328 and 315, 1 min. 45 sec., 2018

Southern Studies (folklore), single channel video and sound. Mississippi highways 328 and 315, 1 min. 45 sec., 2018

Anheló (La Jetée), 2 channel video and sound, 7 min., 17 sec., 2018. Made in collaboration with Miriam Ruiz.Anheló, investigates loss, longing, and memory as experienced by immigrants, their descendents, and Latinx diaspora in the United States. In the video, photographs, field recorded sounds, Google Map images, voice-over narration [in form of text] from the Chris Marker film La Jetée and dancers evoke the liminal space that immigrants inhabit---displaced from their native country but not fully belonging to their adoptive homeland---a space between borders.

Anheló (La Jetée), 2 channel video and sound, 7 min., 17 sec., 2018. Made in collaboration with Miriam Ruiz.

Anheló, investigates loss, longing, and memory as experienced by immigrants, their descendents, and Latinx diaspora in the United States. In the video, photographs, field recorded sounds, Google Map images, voice-over narration [in form of text] from the Chris Marker film La Jetée and dancers evoke the liminal space that immigrants inhabit---displaced from their native country but not fully belonging to their adoptive homeland---a space between borders.

04_Garza_Anhelo(LaJetée).jpg
05_Garza_Anhelo(LaJetée).jpeg
06_Garza_Anhelo(LaJetée).jpg
07_Garza_Anhelo(LaJetée).jpg
La Raza Cosmica (Anheló) series, archival inkjet print, 13 x 19 inches, 2018. Made in collaboration with Miriam Ruiz.

La Raza Cosmica (Anheló) series, archival inkjet print, 13 x 19 inches, 2018. Made in collaboration with Miriam Ruiz.

Prolong the Glow (Nabokov), single channel video with sound, found footage and clip from the film Y Tu Mamá También directed by Alfonso Cuarón. 2 min. 32 sec. 2018

Prolong the Glow (Nabokov), single channel video with sound, found footage and clip from the film Y Tu Mamá También directed by Alfonso Cuarón. 2 min. 32 sec. 2018

Los Novios (for M), work boots, cinder blocks, hot glue, spray paint, 2018

Los Novios (for M), work boots, cinder blocks, hot glue, spray paint, 2018

Housekeepers’ Requiem, glass spray bottles, mirror, shelf, Windex, tequila, fake blood, 2018

Housekeepers’ Requiem, glass spray bottles, mirror, shelf, Windex, tequila, fake blood, 2018

Pick Up Heaven (for M), shovels, paint, 2017

Pick Up Heaven (for M), shovels, paint, 2017

Screen Shot 2020-03-13 at 7.35.24 AM.png
Mala Noche (Houston Astrodome 1995) series, inkjet dye on archival matte paper, dimensions variable, 2017

Mala Noche (Houston Astrodome 1995) series, inkjet dye on archival matte paper, dimensions variable, 2017

Head Like a Hole (New Order/Megadeth), inkjet dye on archival paper, spray paint, framed, 2017

Head Like a Hole (New Order/Megadeth), inkjet dye on archival paper, spray paint, framed, 2017

Exiles (Atomic Age nostalgia), single channel video, found footage, 6 min., 2017

Exiles (Atomic Age nostalgia), single channel video, found footage, 6 min., 2017

Little Death series (Portrait of Hedy Lamarr as Eva from the film Ecstasy), graphite and toner on paper, 9 x 12 inches, 2017

Little Death series (Portrait of Hedy Lamarr as Eva from the film Ecstasy), graphite and toner on paper, 9 x 12 inches, 2017

Little Death series (Portrait of Hedy Lamarr as Eva from the film Ecstasy), graphite and toner on paper, 9 x 12 inches, 2017

Little Death series (Portrait of Hedy Lamarr as Eva from the film Ecstasy), graphite and toner on paper, 9 x 12 inches, 2017

Epilogue (Persona), single channel black and white video with sound, animation, found footage, portions of Ingmar Bergman’s Persona (1966), original sound composition by Mondo Rip remixed by Garza, 6 min. 30 sec., 2016

Epilogue (Persona), single channel black and white video with sound, animation, found footage, portions of Ingmar Bergman’s Persona (1966), original sound composition by Mondo Rip remixed by Garza, 6 min. 30 sec., 2016

A Hostage (Patty Hearst/Nurse), single channel video with sound. dialogue excerpts from the film Persona (1966) directed by Ingmar Bergman and audio tapes Patty Hearst made while held captive by the Symbionese Liberation Army, 30 min. 12 sec., 2016

A Hostage (Patty Hearst/Nurse), single channel video with sound. dialogue excerpts from the film Persona (1966) directed by Ingmar Bergman and audio tapes Patty Hearst made while held captive by the Symbionese Liberation Army, 30 min. 12 sec., 2016

Rage Room, single channel video, 12 min. 56 sec., 2016

Rage Room, single channel video, 12 min. 56 sec., 2016

10_Garza_Rendition(Patty Hearst).jpeg
11_Garza_Rendition(Patty Hearst).jpeg
12_Garza_Rendition(Patty Hearst).jpeg
13_Garza_Rendition(Patty Hearst).jpeg
Rendition (Patty Hearst) series, digital image printed on Platine fibre rag archival paper, 36 x 24 inches, 2016

Rendition (Patty Hearst) series, digital image printed on Platine fibre rag archival paper, 36 x 24 inches, 2016

By Request (fluorescent oraange pump), single channel video with sound, 12 min., 2016

By Request (fluorescent oraange pump), single channel video with sound, 12 min., 2016

Nike AF1 (from white to red), single channel video with sound, 13 min., 50 sec., 2016

Nike AF1 (from white to red), single channel video with sound, 13 min., 50 sec., 2016

X (Equis), Matte black spray painted Werner 6 ft. Fiberglass Twin Step Ladder with 300 lb. Load Capacity and Type IA Duty Rating, acrylic mirror and recycled wood pallet, 2016

X (Equis), Matte black spray painted Werner 6 ft. Fiberglass Twin Step Ladder with 300 lb. Load Capacity and Type IA Duty Rating, acrylic mirror and recycled wood pallet, 2016

A Study for a Monument, wood, metal, chicken wire, fluorescent lights, cotton flag, 160 x 60 x 72 inches, 2013

Mediate/Meditate, video projection, broken asphalt, sand, twisted rebar, burlap, nails, shrapnel and other debris, dimensions variable, 2012

Mediate/Meditate, video projection, broken asphalt, sand, twisted rebar, burlap, nails, shrapnel and other debris, dimensions variable, 2012