We are obsessed with borders these days—who gets to define them, who is trying to cross them, who will pay for walls to stop people from crossing them. It is easy to think of borders as objects of discord and something that divides us. So it is a refreshing surprise to encounter a different approach to thinking about borders in the exhibition Found in Translation: Design in California and Mexico, 1915–1985. As conceptualized by curators Wendy Kaplan and Staci Steinberger, the shared border between Mexico and the United States is something that acts as a mirror rather than a barrier, reflecting popular self-images that flourished on both sides of border. This exhibition runs counter to the tendency common in colonial and postcolonial studies focused on efforts to describe otherness based on the argument that controlling the way other people are depicted is an exercise in hegemony. The curators offer us a depiction not of some imagined other but of ourselves, that is, as people on both sides of the Mexico–United States border imagined their pasts and envisioned their futures. The quest for identity, or, more accurately, the generation of multiple loosely related

中文翻译：

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发现于翻译：加利福尼亚和墨西哥的设计，1915-1985

如今，我们沉迷于边界——谁来定义边界，谁试图越过边界，谁将支付隔离墙费用以阻止人们越过边界。很容易将边界视为不和谐的对象和分裂我们的东西。因此，在 Found in Translation: Design in California and Mexico, 1915–1985 展览中遇到一种不同的思考边界的方法是一个令人耳目一新的惊喜。正如策展人温迪·卡普兰 (Wendy Kaplan) 和斯塔西·斯坦伯格 (Staci Steinberger) 所设想的那样，墨西哥和美国之间的共同边界是一面镜子而不是障碍，反映了在边界两侧蓬勃发展的流行自我形象。本次展览与殖民和后殖民研究中普遍存在的倾向背道而驰，这些研究侧重于基于控制他人被描绘方式是霸权练习的论点来描述他者。策展人为我们描绘的不是想象中的其他人，而是我们自己，也就是说，墨西哥和美国边境两侧的人们想象着他们的过去并展望了他们的未来。对身份的追求，或者更准确地说，是生成多个松散相关的