Chicana/o Art since the Sixties: From Errata to Remix combines decolonial theory with extensive archival and field research to offer a new critical perspective on Chicana/o art. Using Los Angeles as a case study, Karen Mary Davalos develops an interdisciplinary model for a comprehensive art history that considers not only artists and art groups, their cultural production, and the exhibitions that feature their work but also curators, collectors, critics, and advocates. In proposing such vernacular concepts as the errata exhibit and the remix, which emerge out of art practice itself, Davalos moves beyond familiar narratives that evaluate Chicana/o art in binary terms: political versus commercial, realist versus conceptual, and so on. As a leading scholar who has advanced a cultural and institutional framework for the study of Chicana/o artists, art spaces, and exhibition practices, Davalos presents her most ambitious project to date in this examination of fifty years of Chicana/o art production in a major urban area.