This article focuses on the presence of ‘Blackness’ in Latin America, and the role/location of ‘Blackness’ in the necropolitics of Mexico, in particular, as a visual mode of aestheticizing violence in the aftermath of the 2010 Tamaulipas massacre of 72 undocumented migrants. As an act of remembering the victims, Mexican journalists, writers, and activists created a digital altar: 72 Migrantes. Focusing on photography and narrative as visual frames of Blackness, this article analyzes the representation of Black bodies in the digital altar to conceptualize Blackness as: a constitutive part of violent landscapes; a symptom and supplement of that violence; and, conversely, the location itself from which to critique that violence. At stake is a call for Blackness to be read within hemispheric Latin Americanist visual studies as a locus for understanding antisociality and critical race theory by closely studying the role of the human, social death, and the aesthetics of remembrance. Over 10 years after the massacre, the arguments raised in this article both implicitly and explicitly underscore the need to conceptualize contemporary Blackness and death in the wake of the growing anti-racism activism, Black Lives Matter, and the disproportionate number of people of color who have died as a result of the COVID-19 pandemic.

本文重点关注拉丁美洲的“黑人”的存在，特别是墨西哥黑人政治中“黑人”的角色/位置，特别是作为2010年塔毛利帕斯大屠杀72起未记录的暴力之后美化暴力的一种视觉模式移民。为了纪念受害者，墨西哥新闻工作者，作家和活动家创建了一个数字祭坛：72个移民。着重于摄影和叙事作为“黑色”的视觉框架，本文分析了黑色祭坛在数字祭坛中的表示，以将“黑色”概念化为：暴力景观的组成部分；暴力的症状和补充；反之，则是批评该暴力行为的地点本身。紧要关头的是呼吁在半球形的拉丁美洲主义者的视觉研究中阅读“黑色”，作为通过密切研究人类的作用，社会死亡和纪念美学来理解反社会和批判种族理论的场所。屠杀事件发生10年后，本文提出的论点都隐含或明确地强调了在反种族主义激进主义活动“ Black Lives Matter”，