The works in the exhibition spanned over three decades, bringing together Fernandez\u2019s most significant series and offering a comprehensive look at her nuanced approach to visual storytelling. Its title, Multiple Exposures<\/em>, operates on several levels. Literally, it references the photographic technique of superimposing images, a method Fernandez employs to powerful effect to radically redefine the history of portraiture. Figuratively, it speaks to the entwined narratives and histories that she uncovers.<\/p>\n\n\n\n

For the series Untitled Multiple Exposures<\/em> (1999), Fernandez rephotographed iconic portraits of Indigenous women by well-known photographers, overlaying them with her own image. This act of merging her likeness with historical figures creates a dialogue between past and present, personal, and collective memory. The results are both haunting and intimate, challenging viewers to consider the complexities of cultural inheritance and self-representation. Mar\u00eda\u2019s Great Expedition<\/em> (1995\u201396) is a poignant re-enactment of Fernandez\u2019s great-grandmother\u2019s journey from Mexico to the United States. Through staged self-portraits, Fernandez embodies Mar\u00eda at various life stages, highlighting the resilience and struggles of immigrant women.<\/p>\n\n\n\n

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$\"Christina$
Christina Fernandez<\/strong>
Untitled Multiple Exposures<\/em>,<\/em> 1999, installation view, DePaul Art Museum, Chicago, 2025.
Photo: Seijii Robinson, courtesy of DePaul Art Museum, Chicago<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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$\"Christina$
Christina Fernandez<\/strong>
Untitled Multiple Exposure #5 (Figueroa)<\/em>, from the series Untitled Multiple Exposures<\/em>, 1999.
Photo: courtesy of AltaMed Art Collection, AltaMed Health Services<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
In both Lavanderia<\/em> (2002\u201303) and Manuela S-T-I-T-C-H-E-D<\/em> (1996\u20132000), Fernandez turned her lens toward the architectures of labour in urban Los Angeles: fogged laundromat windows and the anonymous exteriors of garment factories speak to the invisibility of Mexican women. Here, human presence is blurred, withheld, or effaced entirely, shifting attention to the surfaces that mediate realities. The worn-out signage and layered graffiti speak of bodies made unseen by economic and political structures.<\/p>\n\n\n\n
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$\"Christina$
Christina Fernandez<\/strong>
Lavanderia #1<\/em>, 2002\u2009, from the series Lavanderia<\/em>, 2002-2003.
Photo: courtesy of Los Angeles County Museum of Art, The Ralph M. Parsons Foundation<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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This concern with framing as a tool of both revelation and concealment was threaded forward into View from Here<\/em> (2016\u201318), in which Fernandez offers glimpses from inside domestic interiors looking out\u200a\u2014\u200aphotographs-within-photographs, partial views from the windows of artists and creatives. Taken together, these series form a meditation on what it means to see, to be seen, or to remain unseen, unfolding a practice deeply attuned to the textures of marginalization and the subtle architectures of visibility.<\/p>\n\n\n\n
Multiple Exposures<\/em> was an invitation to engage with the intricacies that bind identity, history, and place. Through her evocative imagery and thoughtful composition, Fernandez offers a compelling meditation on the intersections of personal and collective experience, urging us to acknowledge the multifaceted realities that shape our world, as well as photography\u2019s ability to record and excavate with empathy and political acuity.<\/p>\n","protected":false},"excerpt":{"rendered":"DePaul Art Museum,<\/strong> Chicago
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