Historically, minority women artists and scholars of color have been ignored by the White patriarchal canon of art education and the arts. I uncrate Josefina Aguilar’s 14-piece clay muñecas, which have been stored away in the Palmer Museum of Art for more than two decades, to demonstrate this lack of exposure. I position my own Latina history with Aguilar’s in an attempt to examine the cultural sequestering of such artists by making visible how I operate from nepantla, a liminal space described by Gloria Anzaldúa. Using Anzaldúa’s concepts of autohistoria and autohistoria-teorīa, I lay a theoretical framework of transcultural feminist curating, and I interweave the testimonio I have used to decolonize art education, art, and curating. As a witness to the Palmer Museum of Art’s neglect in not showcasing Aguilar’s works, I expose how women’s life histories are often crated and stored in private spaces and seldom opened and appreciated.

中文翻译：

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不平凡的约瑟芬娜·阿吉拉尔（Josefina Aguilar）：《女权主义》系列的女权主义策展中的自动组织和自动组织

从历史上看，白人女性家长和有色人种的学者被白人家长制的艺术教育和艺术忽略了。我要讲解何塞菲娜·阿吉拉尔（Josefina Aguilar）的14件黏土muñecas，这已被保存在帕尔默艺术博物馆超过二十年，以证明这种暴露程度不足。我将自己的拉丁历史与阿吉拉尔（Aguilar's）定位在一起，试图通过使我如何看待格洛丽亚·安扎尔杜亚（GloriaAnzaldúa）所描述的门廊空间nepantla的运作来研究这类艺术家的文化隔离。我使用安扎尔杜瓦（Anzaldúa）的自立和自立概念，为跨文化女性主义策展奠定了理论框架，并且交织了我用来非殖民化艺术教育，艺术和策展的证词。作为帕尔默艺术博物馆未展示阿吉拉尔作品的疏忽的见证，