“Archival Temporalities and Queer Kinships in the Photographs of Diana Solís.” In Feminist Visual Solidarities and Kinships, edited by Erina Duganne, Susan Richmond, and Genevieve Hyacinthe. New Brunswick, NJ: Rutgers University Press (chapter manuscript in progress).

Image caption and credit: Diana Solís, Photography workshop, led by Solís using portraits they took at Casa Aztlán, Chicago, at the IV Encuentro Feminista Latinoamericano y del Caribe, Mexico, 1987. Courtesy of the artist.

“Dismantling Latinx Monoliths: Representations of Material Culture, Communities, and Kinship in 1980s Chicago.” In The Routledge Handbook of American Material Culture Studies, edited by Kristin Hass (forthcoming, 2024).

Image caption and credit: Diana Solís, contact sheet of 35 mm negatives from the Mothers and Daughters series, 1987. Kodak Tri-X black-and-white film, 8 x 10 inches. Chicago. Courtesy of the artist.

“Review of Reclaiming the Americas: Latinx Art and the Politics of Territory by Tatiana Reinoza” in Latin American and Latinx Visual Culture (forthcoming, 2024).

Image caption and credit: Sandra Fernández, The Northern Triangle, 2018, Serigraph, Ed. 64. Dimensions: 18 x 26" (image size), 22 x 30" (paper size). Image via Self Help Graphics.

Ledezma, Deanna and Josh Rios. Co-written with Josh Rios. “Photographs from the Fields: The Digital Activism of the United Farm Workers.” In Reworking Labor, edited by Ellen Rothenberg and Daniel Eisenberg, 118–139. Chicago: The Institute for Curatorial Research & Practice at the School of the Art Institute of Chicago, 2023.

Image caption and credit: Photograph by Deanna Ledezma and Josh Rios. Photograph on iPhone posted by United Farm Workers Updates (@ufwupdates) on Instagram.

Review of Forecast Form: Art in the Caribbean Diaspora, 1990s–Today, Museum of Contemporary Art Chicago, caa.reviews, May 3, 2023.

Image caption and credit: Ana Mendieta, Untitled: Silueta Series, Mexico From Silueta Works in Mexico, 1973-1977, 1974/91, color photograph. Installation view at Forecast Form: Art in the Caribbean Diaspora, 1990s–Today, Museum of Contemporary Art Chicago, 2023. Photograph by Deanna Ledezma.

Solís, Diana. Luz: Seeing the Space Between Us. Foreword and selected bibliography by Deanna Ledezma. Chicago: Flatlands Press, 2022.

A limited-edition artist’s book funded by 3Arts.

Image caption and credit: Diana Solís, self-portrait with siblings, 1976, Chicago. Courtesy of the artist.

Riaño, Sandra. “Beyond the Frame: A Conversation on Family Photography with Deanna Ledezma.” Intervenxions, The Latinx Project at New York University, May 17, 2022.

Image caption and credit: Snapshot of Jackie Luna holding an accordion (1959), propped up against the cover of Corona: Shadows of the Loved. Author’s collection.

“Selecting Views of Las Trampas: Contact Sheets by Fred E. Mang Jr. and David Jones at the New Mexico State Records Center and Archives.” Photography & Culture 14, no. 1 (March 2021): 1–13.

Image caption and credit: Enjaradoras (women plasterers) stand on ladders and apply the mixture to the walls of the church, “Las Trampas Church: Refurbishing” folder, c. 1967. David Jones (photographer), David Jones Collection, courtesy of the State Archives of New Mexico, contact sheet image numbers 51079–51090.

“Regarding Family Photography in Contemporary Latinx Art.” Art Journal 79, no. 3 (Fall 2020): 80–89.

Image caption and credit: Laura Aguilar, Plush Pony #15, 1992, gelatin silver print, 14 x 11 in. Laura Aguilar Trust of 2016.

We Eat All the Way Down to the Green. Chicago: self published, 2019. A testimonio-based chapbook made with my father for Re:Working Labor, exhibition curated by Ellen Rothenberg and Daniel Eisenberg, The School of the Art Institute of Chicago Sullivan Galleries.

Image caption and credit: Copy of We Eat All the Way Down to the Green opened to the first page with a photograph of a “basketful of pecans” by Russell Lee.

Corona: Shadows of the Loved. Memphis: Walls Divide Press, 2018. Commissioned and designed by publisher Corkey Sinks.

Artist’s zine with a personal essay and photographs from Deanna Ledezma’s collections.

Image caption and credit: Copy of Corona: Shadows of the Loved opened to a page with a reproduction of a studio portrait purchased from the Austin Antique Mall. Author’s collection.

“Arrangements.” In Imperceptibly and Slowly Opening: A Group Exhibition about Plants, edited by Caroline Picard and Devin King, 174–187. Chicago: Green Lantern Press, 2016.

Image caption and credit: First page of an early- to mid-twentieth-century bilingual album, with family photographs made in California and Mexico. Purchased on eBay. Author’s collection.