Paño art consists of elaborate ink drawings on fifteen-by-fifteen-inch cotton handkerchiefs produced by incarcerated Latinos. Paños are private expressions of love, devotion, and resilience made artifacts for public scrutiny at art galleries and museums. Although more than two dozen art exhibitions dedicated to paños have been held from Santa Fe to France since 1996, few scholars have published on their artistic merit. Recontextualizing paños as art and pintos (Spanish slang for inmates) as artists, this essay initiates a critical dialogue that keeps these items from becoming a fetishized curiosity for curators and collectors. In examining seven paños produced by Texas inmates in the 1990s from NEHMA and the Leplat-Torti collection, this study also aims to situate their cultural significance amid Chicano and emergent Tejano traditions.

帕尼奥的艺术作品是由拉美裔囚犯制作的十五乘十五英寸的棉手帕上精心制作的水墨画。帕尼奥斯（Paños）是爱，奉献和韧性的私人表达，是在美术馆和博物馆进行公众审查的人工制品。自1996年以来，虽然从圣达菲（Santa Fe）到法国举办了超过二十场有关帕尼奥斯（paños）的艺术展览，但很少有学者发表其艺术价值。本文将帕诺斯艺术重新定义为艺术，将宾托艺术（囚犯的西班牙as语）重新诠释为艺术家，这篇文章引发了重要的对话，使这些物品不再成为策展人和收藏家的迷恋好奇心。在检查七个帕尼奥斯 这项研究是由德克萨斯州囚犯在1990年代从NEHMA和Leplat-Torti藏品中提取的，旨在将他们的文化意义置于奇卡诺和新兴的特哈诺传统之中。