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Based on an ethnographic and artistic approach to research in an "addiction" treatment center on the periphery of Mexico City, this paper reflects on the following question: How is young women's subjectivity constructed as they move through different life spaces, such as addiction treatment centers, the street, detention centers, and homes? Through various mapping exercises with a gender lens, young women explored the articulation between their body, the street, and their memory. These revealed spatiotemporal conceptualizations that shed light on the disciplining of addicted bodies and their own spatial productions. As a result of this work, we present the idea of transgression path to understand howsubjectivities are constructed based on the experience of inhabiting different spaces that have been important for them throughout their lives: the street, homes and public institutions. On these paths, young women shape their subjectivities through circulation and intermittency, bodily experimentations and mental gaps, experience of the street, and bodily performance. [ABSTRACT FROM AUTHOR]

In this paper I study the graphic series entitled Negro Woman (1946) by the American-Mexican artist Elizabeth Catlett. I rely on the concept of "postmemory" in relation to the slavery suffered by the artist's grandparents, as the base to interpret her desire to create consciousness on the double oppression experienced by black women, both in the past and in the present moment. Working in the artistic context of the Taller de Gráfica Popular, Catlett introduced in mid-century México the intersectionality of gender and race in a very explicit and forceful way. [ABSTRACT FROM AUTHOR]

The aim of this paper is to rethink the metropolitan spatial practices not only as forms of reproduction, but also as forms of gender social innovation. The spatial analysis will be done on the basis of daily mobility practices in the everyday spatial experience of women in a popular neighborhood of downtown Mexico City. Practices that express ruptures and continuities, and that are not necessarily significant by their persistence, but by their importance in shaping the everyday life and the construction of an urban collective imaginary that occasionally shows increasing quests for breaking the continuity. [ABSTRACT FROM AUTHOR]