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When E. Carmen Ramos organized Our America: The Latino Presence in American Art (2013) at the Smithsonian American Art Museum in Washington, DC, art holdings of Latinx artists at the institution were minimal and unbalanced. The museum lacked works by foundational figures; entire groups like Dominican Americans were missing, as were genres like abstract art; and with a collection dominated by colonial and folk art and work by Mexican Americans, it was impossible to produce any comprehensive exhibition of contemporary Latinx art, much less one that represented the diversity of artists and trends. Ramos was one of the few Latinx curators hired in the aftermath of the infamous 1994 “Willful Neglect” report documenting a historical pattern of discrimination at the Smithsonian Institute and calling for the hiring of Latinx curators to help direct the Smithsonian’s priorities in research, collections, and exhibitions.1 Twenty-five years later, this pattern of exclusion continues apace. In 2018, a study by UCLA’s Chicano Studies Research Center found that while the Smithsonian’s Latinx workforce grew from 2.5 percent to 10.1 percent, this growth falls short of representing the growth of the Latinx population, which since 1994 has doubled to 17.8 percent of the total population. In sum, the task of putting a dent in a mostly white canonical art history and collection was a daunting one, and whatever Ramos did would be a politically charged intervention. This would be the first major scholarly survey exhibition of Latinx art, a statement to insert it as central to US art history, and the first major show of its type in a major North American museum in decades.