Tejada discusses how artist Celia Álvarez Muñoz uses the side-by-side rebellion of words and images to channel comic timing and conceptual methods meant, canonically, to register “ideas about art.”Her Enlightenment #4: Which Came First? (1982) reimagines the artist-book structure, armed with the seductions of a story world, to deploy little insurrections against the tyrannies of language, sex, and schooling. She stages differences between container and content, between adult recollection and lived childhood reality, and between cultural differences along the U.S.-Mexico borderlands.
