Judith Baca is particularly fundamental in addressing white middle-class feminism and proposing new ideologies of identity. Las Tres Marías (1976) was a part of an installation featuring Baca performing. Physically, the piece is three panels, one mirror in the center, a figure to the left of an indifferent chola looking down at the spectator and a figure to the right, a 1940s/1950s pachuca. In combination with the title, the three panels portray Baca’s adaptation of the three marys of the crucifixion story. Indych-Lopez draws specific attention to inclusion of the pachuca as she directly attacks gender roles, and encourages a feminism that breaks social constructs and supports sexuality. The mirror similarly plays a significant role in encouraging true identity, as it forces spectators to confront their existence and being. Las Tres Marías uniquely addresses a multitude of topics as it promotes diversity among Mexican-American identities and fights the ideologies of white feminism.
Anna Indych-Lopez describes the Chicana artist Judith Baca as a driving force behind public arts and a feminist visionary. In essence, Baca made significant advances in the world of art, introducing murals as a tool to expand the audience of Chicana artwork, and consequently, expose the masses to ideas of diverse identities and feminism/equality.
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