Folio. (14)ff. Ten color serigraphs by Sanchez, each incorporating poetry by Cantu, plus title sheet and three sheets with artists' statements. Includes a copy of the first edition of the trade publication of the same materials, an oblong octavo likewise signed by Sanchez. Trains and train yards have defined American history, sure signals of westward expansion, industrialization, commodity exchange, and the interconnectedness of states. Both Sanchez and Cantu, however, point out that these developments have come at a complicated, often painful cost, one that is especially high for Mexicans and Mexican-Americans. The railroads were built on the backbreaking, often exploitative labor of immigrants of all nations; in Texas, these were of Mexican origin. Sanchez's surrealist style reflects the surreal double-consciousness employed by those in power, who use immigrants for their own ends, bringing them north to America, only to adopt xenophobic attitudes and policies and to advocate for deportation. The issue has never been more obvious than in our current moment, but has long been fundamental to the train system. In her accompanying statement, Sanchez specifies the long history of depictions of trains in Mexican and Spanish film; savvy film buffs will note the suite's similarities to Emilio Fernandez's 1951 Victims of Sin. Sheets separated by protective wax paper. Accompanying book bound in full black cloth over boards, with illustrated dust wrapper. All materials fine. Housed in archival solander box with illustration to lid.