It's not hard to spot the "negativity" they're referring to. Aguilar's work speaks directly about depression, marginalization, and isolation. Her portraits of herself and her subjects deal directly with the intersections of her own identity — Latina, lesbian,

Laura Aguilar, Clothed/Unclothed #34, 1994
Courtesy of the artist and the UCLA Chicano Studies Research Center
"I have to say, I wasn’t familiar with her work," says Pomeroy, "but they published two photographs [of Aguilar's] and I found them so compelling that I contacted the Vincent Price Museum and asked, ‘Are you traveling the show?’ They said, ‘No, but we’d like to.’"
Aside from the fact that Aguilar's work is in conversation with the Frost Art Museum's exhibition "Dangerous Women," on view through May 20, what Pomeroy also recognized was simply "a fabulous body of work." Beautiful compositions of both bodies and landscapes converge with a tender approach to friends, family, and self in Aguilar's photographs. Her Plush Pony series, for example, is simultaneously an empowering, playful, and loving look at the patrons of a popular Latina lesbian bar in East L.A. Not only do the photographs show us what we so rarely see — women, often ignored by virtue of both their cultural and sexual identity, being joyful — but it also forces us to reflect on the identities we forcibly politicize at the price of their humanity.

Laura Aguilar, Plush Pony #15, 1992
Courtesy of the artist and the UCLA Chicano Studies Research Center
Arguably, this is nowhere more poignant than in Aguilar's work with her own body. A decade's worth of these photos has its own room in the gallery, where viewers are given nearly 360 degrees of both black-and-white and color depictions of Aguilar's voluptuous figure framed by trees, boulders, creeks, and desert. Often she is laying down or kneeling, at times with other women's bodies but mostly alone, her own curves and crevices echoing the lines of the natural world around her.

Laura Aguilar, Grounded #111, 2006/2016
Courtesy of the artist and the UCLA Chicano Studies Research Center
I didn't know how much I needed depictions of people — especially women — being tender with their own bodies until I saw this show. Something about seeing the "negative," or what we prefer not to see, as deserving the most care and the most gentleness is more affecting than a thousand positive representations of women or Latinxs becoming models or CEOs. In an era where representation is becoming increasingly important in our cultural dialogue, Aguilar reminds us that we can represent what we want while also representing things exactly as they are.
In a video within the landscape gallery titled Untouched Landscape, Aguilar stands naked, facing the camera, her figure cropped at her hips and her body framed by a large boulder. She lays her hands on her stomach at times, or runs them
"Look at the photographs. In the photographs, you look beautiful. In the photographs, you're being gentle with yourself by acknowledging that.
"In that picture, you look peaceful. Remember that you were peaceful."
"Show and Tell." On view through May 27 at the Patricia and Phillip Frost Art Museum FIU, 10975 SW 17th St., Miami; 305-348-2890; thefrost.fiu.edu. Admission is free.