In this paper I examine the ways that artists in the San Diego–Tijuana borderlands have represented the spaces of home from the late 1960s to the present. The historical trajectory is from the agonistic nationalism of the Chicano Movement, which sought to reestablish the homeland of Aztlán, to the Border Art Workshop's more inclusive multiculturalist engagement with ‘the borderlands’, to the flexible combinatorial binationalism that marks the current postborder condition. Works of art characteristic of each phase are discussed.
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