HIGHLIGHTS FROM THE EXHIBITION:
Latina Lesbians (1985-1991) and Plush Pony Series (1992):
Both featured collaborations with the Los Angeles LGBT communities. The Plush Pony was a working class, lesbian bar in El Sereno, a neighborhood east of downtown Los Angeles, where Aguilar met the women who form the core of this series. Like much of Aguilar’s oeuvre, this work documents a piece of the American experience from the perspective of a photographer whose identified subjects are often invisible to the mainstream lens. As a photo essay, it captures a microcosm of the city’s queer community of color in the early 1990s.
Nude Self-Portraits (1996):
This series was shot while on a road trip through New Mexico with friend and fellow photographer, Delilah Montoya. As an artist, Aguilar was moving towards a place of greater self-acceptance and was overtly and visually beginning to challenge her limiting beliefs of her own self-image and self-esteem. Portrayals of her body in nature, particularly set against the forms of rocks and stone, resonated powerfully with her and she began pursuing this artistic direction. Aguilar would later gain international recognition for these photographs, influencing her subsequent nude series Stillness (1999), Motion (1999), Center (2000), and Grounded (2006).