“Dismantling Latinx Monoliths: Representations of Material Culture, Communities, and Kinship in 1980s Chicago.” In The Routledge Handbook of American Material Culture Studies, edited by Kristin Hass (chapter manuscript accepted).

Image caption and credit: Diana Solís, contact sheet of 35 mm negatives from the Mothers and Daughters series, 1987. Kodak Tri-X black-and-white film, 8 x 10 inches. Chicago. Courtesy of the artist.

“Archival Resurgences and Latina Legacies in the Photographs of Diana Solís.” In Feminist Visual Solidarities and Kinships, edited by Erina Duganne, Susan Richmond, and Genevieve Hyacinthe. New Brunswick, NJ: Rutgers University Press (chapter manuscript in progress, 2026).

Image caption and credit: Diana Solís, Dar a Luz Program presentation with chalkboard, Mujeres Latinas en Acción, Chicago, 1978. Courtesy of the artist.

“Con(tra) El Archivo: Artists in Conversation.” Interview with William Camargo, Arlene Mejorado, Irene Antonia Diane Reece, and Alexa Ramírez Posada, conducted and edited by Deanna Ledezma, Intervenxions, The Latinx Project at New York University, December 6, 2024.

Image caption and credit: Con(tra) El Archivo installation view, Filter Photo, Chicago, 2024. Courtesy of Caitlin Peterson, Filter Photo.

Johnson, Jameson. “On Kinship with Land and One Another: In Conversation with Deanna Ledezma, Josh Rios, and Anthony Romero.” Boston Art Review, no. 13 (Fall/Winter 2024): 68–71. In print and online.

Image caption and credit: Place as Practice Research Collective, The place where the creek goes underground, installation view, on view in the Johnson-Kulukundis Family Gallery, Harvard Radcliffe Institute, September 16–December 14, 2024. Photo by Julia Featheringill.

The place where the creek goes underground, an exhibition takeaway and an artists’ publication with photographs and creative nonfiction essays by Deanna Ledezma, Josh Rios, and Anthony Romero. Harvard Radcliffe Institute, Cambridge, 2024.

Exhibition curated by Meg Rotzel with Caitlin Julia Rubin. Publications designed by Cara Buzzell.

Image caption and credit: Digital illustration by Cara Buzzell with photographs by Deanna Ledezma and Anthony Romero.

“Revisiting Pilsen: Akito Tsuda’s Photographs and the Making of a Latinx Archive.” Exhibition catalog essay for Akito Tsuda: Pilsen Days, curated by Oscar Arriola, sponsored by the Terra Foundation initiative Art Design Chicago, Harold Washington Library Center, Chicago, June 3–December 31, 2024.

Image caption and credit: Akito Tsuda, Windy and her goddaughter Carmen in front of their family’s store, c. 1991–1994, Chicago. Courtesy of the photographer.

“Review of Reclaiming the Americas: Latinx Art and the Politics of Territory by Tatiana Reinoza.” Latin American and Latinx Visual Culture 6, no. 2 (April 2024): 161–162.

Image caption and credit: Sandra Fernández, The Northern Triangle, 2018, Serigraph, Ed. 64. Dimensions: 18 x 26" (image size), 22 x 30" (paper size). Image via Self Help Graphics.

Ledezma, Deanna and Josh Rios. “Photographs from the Fields: The Digital Activism of the United Farm Workers.” In Reworking Labor, edited by Ellen Rothenberg and Daniel Eisenberg, 118–139. Chicago: The Institute for Curatorial Research & Practice at the School of the Art Institute of Chicago, 2023.

Image caption and credit: Photograph by Deanna Ledezma and Josh Rios. Photograph on iPhone posted by United Farm Workers Updates (@ufwupdates) on Instagram.

Review of Forecast Form: Art in the Caribbean Diaspora, 1990s–Today, Museum of Contemporary Art Chicago, caa.reviews, May 3, 2023.

Image caption and credit: Ana Mendieta, Untitled: Silueta Series, Mexico From Silueta Works in Mexico, 1973-1977, 1974/91, color photograph. Installation view at Forecast Form: Art in the Caribbean Diaspora, 1990s–Today, Museum of Contemporary Art Chicago, 2023. Photograph by Deanna Ledezma.

Solís, Diana. Luz: Seeing the Space Between Us. Foreword and selected bibliography by Deanna Ledezma. Chicago: Flatlands Press, 2022.

A limited-edition artist’s book funded by 3Arts.

Image caption and credit: Diana Solís, self-portrait with siblings, 1976, Chicago. Courtesy of the artist.

Riaño, Sandra. “Beyond the Frame: A Conversation on Family Photography with Deanna Ledezma.” Intervenxions, The Latinx Project at New York University, May 17, 2022.

Image caption and credit: Snapshot of Jackie Luna holding an accordion (1959), propped up against the cover of Corona: Shadows of the Loved. Author’s collection.

“Selecting Views of Las Trampas: Contact Sheets by Fred E. Mang Jr. and David Jones at the New Mexico State Records Center and Archives.” Photography & Culture 14, no. 1 (March 2021): 1–13.

Image caption and credit: Enjaradoras (women plasterers) stand on ladders and apply the mixture to the walls of the church, “Las Trampas Church: Refurbishing” folder, c. 1967. David Jones (photographer), David Jones Collection, courtesy of the State Archives of New Mexico, contact sheet image numbers 51079–51090.

“Regarding Family Photography in Contemporary Latinx Art.” Art Journal 79, no. 3 (Fall 2020): 80–89.

Image caption and credit: Laura Aguilar, Plush Pony #15, 1992, gelatin silver print, 14 x 11 in. Laura Aguilar Trust of 2016.

We Eat All the Way Down to the Green. Chicago: self published, 2019. A testimonio-based chapbook made with my father for Re:Working Labor, exhibition curated by Ellen Rothenberg and Daniel Eisenberg, The School of the Art Institute of Chicago Sullivan Galleries.

Image caption and credit: Copy of We Eat All the Way Down to the Green opened to the first page with a photograph of a “basketful of pecans” by Russell Lee.

Corona: Shadows of the Loved. Memphis: Walls Divide Press, 2018. Commissioned and designed by publisher Corkey Sinks.

Artist’s zine with a personal essay and photographs from Deanna Ledezma’s collections.

Image caption and credit: Copy of Corona: Shadows of the Loved opened to a page with a reproduction of a studio portrait purchased from the Austin Antique Mall. Author’s collection.

“Arrangements.” In Imperceptibly and Slowly Opening: A Group Exhibition about Plants, edited by Caroline Picard and Devin King, 174–187. Chicago: Green Lantern Press, 2016.

Image caption and credit: First page of an early- to mid-twentieth-century bilingual album, with family photographs made in California and Mexico. Purchased on eBay. Author’s collection.