A Conversation with Ann Pendleton-Jullian

In creating a mesh by looping and interlocking single strands of wire, Asawa defined an intricate shape without precluding a view of its interior; instead, she foregrounded space itself. The artist had learned the basic premise of looping wire into permeable volumes during an American Friends Service Committee volunteer trip to Toluca, Mexico, where in 1947, she encountered—and briefly studied—a unique wire-basketry technique. While today, thanks to a series of critical analyses from 2006 onward, Asawa’s art sits comfortably within the trajectory of radical innovations of modernist sculpture, the Mexican origin and craft pedigree of her signature looped-wire creations are typically cast in a role subservient to the major narrative of the artist’s singular contributions.

In times of danger, we learn to seek sanctuary—a place of safety and security when the world we know is under attack. Once we have regained our strength, perspective, and a better vantage point for reclaiming what was lost, we must consider when to leave the protective space that has sheltered us from harm. During…

“Mary is . . . a myth of a woman without a vagina,” proclaims queer theologian Marcella Althaus-Reid in Indecent Theology: Theological Perversions in Sex, Gender, and Politics. Moreover, Althaus-Reid declares that the adoration of the Virgin in Latin America in the…