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and the painting are based upon the cover of a booklet entitled [underline] Kitchen Spanish [/underline]. The sink becomes a symbol of domestic duty and below its running water stands the "wetback." As on the booklet[underline] Kitchen Spanish [/underline], the main is shown "cartoon-like to dramatize her two-dimensions nature in a three-dimensional world." The speech balloon also emphasizes the [underline] Kitchen Spanish [/underline] booklet pattern. The word [underline]perra[/underline] means not only dog but also female dog, or bitch. Casas' hostility to the "dehumanization and de-enfranchisement"21 of the wetback is self-evident. The cat is placed in relation to the maid in such a way as to read as "pussy" twice. The woman on the far right is a negative Anglo image--a "selfish, furtive exploiter of people in a racial context."22 The dog is held on a leash by this woman, and it "symbolizes money (power), pressure, social control."23 The second woman from the right is this de-Chicano-ized "Latin"-American who exploits aliens as does the woman on the far right. By becoming Anglo-ized, she inherits only the negative aspects of the Anglo. The young girl and the child are "victims of circumstances and unwilling pupils to the perpetuation of the ethnic caste system."24

Casas deviates from his central purpose of pointing out the cruelty of Americans to the Mexican-Americans only a few times in his more recent paintings. This deviation can be seen in Humanscapes 57 and 72. Humanscape 57 is a scientific painting of bluebonnets. In this case, Casas