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Monumentality and Anticolonial Resistance: Feminist Graffiti in Mexico

In August 2019, the Angel of Independence (1910), a historical monument in Mexico City designed by the architect Antonio Rivas Mercado (1853–1927), which includes sculptures by Enrique Alciati, was heavily graffitied by feminist collectives such as Ni Una Menos, Restauradoras con glitter, and Antimonumenta “vivas nos queremos,” among others (Fig. 1). This graffiti was in response to the Mexican state’s apathy and inaction to a series of public declarations of gender-based violence and increasing accounts of feminicides and disappearances. Feminicide is used to refer to “systemic or structural violence sanctioned (or commissioned) by state actors (public) and violence committed by individuals or groups (private).” This term demonstrates how the state and interpersonal relationships work in tandem in Mexico, where an average of ten women are killed daily, and this figure does not account for people that go missing. Thus, women marched the streets of Mexico City to denounce the lack of public safety and a state-sponsored protection of rape culture. While the Angel of Independence is not only a central marker to Mexico City’s geography, it is also entangled with sentiments of nationhood and unity as codified by the Porfiriato (1876–1910), the period of Porfirio D ıaz’s dictatorship in Mexico. Completed in 1910, this monument was ordered by then president D ıaz in 1900. Comprising a winged goddess of victory and layered bases donned with symbolic representations of war, peace, justice, and law, it is an architectural token that commemorated one hundred years of independence from Spain and epitomized the modernization of Mexico. This monument also serves as a mausoleum for the remains of the “heroes” of the War of Independence (1810–27). Given that the Angel glorifies the histories of men