For its 1974 work Instant Mural, the Chicano art collective Asco taped members Patssi Valdez and Humberto Sandoval to an outdoor wall in East Los Angeles. The work is manifestly a commentary on constraint, but many critics focus on Valdez and the social constraints women faced at the time, which is understandable but leaves the presence of Valdez’s male collaborator Sandoval unexplained. We should instead consider that in 1974, the art establishment’s recognition of Chicano artists was (and had long been) restricted to sociohistorical muralists, leaving nonmuralist Chicano artists—like Asco’s members—struggling to even exhibit their work; attending to this context opens an interpretation that accounts for all the evidence, allowing us to conclude that ______blank