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Afterlives / Visual essay

A workshop travels.

What if the thing passed on is a way of working together?

Late 1990s / 2010Austin · New York · Dominican diasporaReview edition

Read through the records

Austin
New York
2010

The original works remain with their source records. Follow the links below to view them alongside the argument.

A way into this story

Follow a person through two places of making.

  1. Austin

    An encounter with collaboration

    The source locates Coronado at the Serie Project as a master printer. The important connection concerns a practice and social setting.

    Inspect the evidence ↓

  2. New York

    Another collective takes shape

    The later collective addresses Dominican American culture and history; its purpose is not interchangeable with that of the earlier residency.

    Inspect the evidence ↓

  3. 2010

    Several voices share a format

    A portfolio joins distinct works without making them a single image. Its organization is part of what readers encounter.

    Inspect the evidence ↓

01 / Historical account

A printer carries experience between workshops.

The Smithsonian locates Pepe Coronado at the Serie Project in Austin in the late 1990s as a master printer. Its account describes that collaborative experience as one influence on his later founding of Dominican York Proyecto GRAFICA in New York. A person, rather than a copied figure, carries the connection.

Manifestaciones brings twelve artists into a shared portfolio. The later collective’s Dominican American concerns belong to its own participants and setting. What moves between the two places is a way of organizing work together; it does not require the resulting images to look alike.

Evidence 1: transmission ↓

02 / Close reading

A sleeping figure holds two places at once.

Scherezade García’s Day Dreaming / Soñando despierta gives the portfolio a particular point of entry. The Smithsonian describes a sleeping figure surrounded by floating boats, a palm tree and plantains against a dark urban setting. It reads that contrast through migration and memories of home.

Open the source image and consider the floating elements as interruptions in the surrounding darkness. A portfolio lets this intimate arrangement sit beside other artists’ public arguments without requiring them to speak in one voice. The two languages of the title accompany one work; they are not two independent historical witnesses.

Evidence 1: catalogue fact ↓

03 / Open question

The shared format does not produce one argument.

The museum’s account places García’s dream beside works addressing subjects such as the 1965 US intervention in the Dominican Republic and colourism. These are the portfolio’s concerns as interpreted by the museum. The shared format makes different scales of experience available together: a remembered home, an urban setting and political history.

A useful next comparison would ask how the sheets address a viewer differently. Which invites intimacy, which presents evidence, and which interrupts familiar language? Those are questions the works can sustain before we claim to know their effects on their first audiences.

Evidence 1: transmission ↓Evidence 2: catalogue fact ↓

Keep the identities distinct

Works, people & carriers.

work

Scherezade García, Day Dreaming / Soñando despierta

2010

One work from the portfolio; linked rather than reproduced.

Open the source record ↗

The research stays attached

How we know.

Source verification and prose revised with AI assistance. Independent specialist review remains pending.

Editorial review · 2026-10-17
A printer carries collaborative experience; a portfolio holds distinct voices.

Checked 2026-10-17 · a-workshop-travels.2

Download the research record ↓
documentedSAAM describes Pepe Coronado’s experience at the Serie Project as one influence on his later founding of Dominican York Proyecto GRAFICA.

Relationship: transmission

Serie Project print residency Dominican York Proyecto GRAFICA

The limit: A documented organizational relationship; it does not establish that one print copied another.

Claim workshop-passage · research version a-workshop-travels.2
documentedManifestaciones was the collective’s first portfolio; Scherezade García’s Day Dreaming / Soñando despierta is a 2010 work within it.

Relationship: catalogue fact

Dominican York Proyecto GRAFICA Manifestaciones portfolio

The limit: The selected work does not represent every member’s subject or method.

Claim workshop-portfolio · research version a-workshop-travels.2
Source ledger · 2 records

institutional account · en

Chicanx Graphic Arts in Focus: Manifestaciones ↗

Rebekah Mejorado / Smithsonian American Art Museum

Checked 2026-10-17 · Source text. Relevant source text and its stated object, date or license fields were inspected; this does not imply independent specialist review.

Locate: Paragraphs beginning 'In the late 1990s' and 'Modest in scale'

Supports: Pepe Coronado's experience at the Serie Project informed the later Dominican York Proyecto GRAFICA collective; Manifestaciones was its first portfolio.

Limit: An institutional account of an organizational relationship. It does not identify a single borrowed composition or measure the portfolio's social effects.

object record · en / es

Day Dreaming / Soñando despierta, from Manifestaciones ↗

Smithsonian American Art Museum

Checked 2026-10-17 · Source text. Relevant source text and its stated object, date or license fields were inspected; this does not imply independent specialist review.

Locate: Artwork credit; About the Artwork / Acerca de esta obra

Supports: Scherezade García's 2010 work, media, portfolio and bilingual institutional interpretation.

Limit: English and Spanish versions on the same page are not independent corroboration. Image copyright is stated; the image is reference-only.

Public life: reach, response, consequence

Reach. SAAM documents a twelve-artist portfolio and its museum context; the original edition’s distribution is not established here.

Response. SAAM reads García’s work through migration and memory and identifies varied political concerns in the portfolio. Its English and Spanish texts are one institutional account.

Consequence. The documented organizational influence concerns a way of working together; it does not establish that one print copied another.

Versions & corrections
  • a-workshop-travels.1 · 2026-10-17

    First source-checked review edition. Historical claims and original readings are distinguished; image permissions are recorded separately.

  • a-workshop-travels.2 · 2026-10-17

    Checked the Smithsonian’s limited causal wording and first-portfolio identification. Replaced generic portfolio prose with García’s sleeping figure, boats, palm and plantains. Separated institutional interpretation of migration from audience testimony.

Historical source assertions, editorial readings and image decisions are separate. A revision changes the research version and regenerates dependent summaries and exports.

Suggest a correction →

The story branches

Carry a question forward.

These are editorial reading suggestions. Each investigation makes its own argument.

Follow public life into another setting.

Follow public life into another setting.

Image source

Pendant mask of Ìyọ́bà Idià ↗
Ìgbèsànmwà (ivory- and wood- carving guild) artists · The Metropolitan Museum of Art
CC0. An ivory pendant mask with a finely carved face and an elaborate border; the Met example, not the British Museum FESTAC source.

16th century

An emblem and an absence.

How can an image return while the object stays away?

A documented connection

A documented connection

About this connection

This account is from the holding institution. The similar Met mask shown for comparison is a different object.

Open the connection study

Follow collective making into another setting.

Follow collective making into another setting.

Cloth without a loom.

Can a sculpture remember weaving without being woven?

A connection attributed in the research

A connection attributed in the research

About this connection

The catalogue does not name one source textile. Multiple references should not be reduced to a single origin.

Read the visual essay
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