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New Acquisition: The Cheech Marin Center for Chicano Art acquires The Endless Endeavor Series

We are pleased to announce that Ben Muñoz’s monumental six-part woodcut series, Endless Endeavor (2017–2018), has been acquired by The Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum.  

The works were included in the traveling exhibition Soy de Tejas, guest-curated by Rigoberto Luna. Endless Endeavor highlights the history of Muñoz’s family, beginning with his grandfather’s arrival in the United States from Mexico City, exploring the generations in between, and ending with the birth of his daughters. Using imagery and composition to tell this story, the images are stacked to symbolize how each generation works to elevate their children and grandchildren.

Muñoz explains that future generations can obtain things that were previously out of reach, stating that his ceiling is his daughters’ floor. Because we will always have descendants to create a better future for, the endeavor is endless.

The opportunity for this series of prints to enter The Cheech’s collection ensures that family histories like his will be shared with broader communities who recognize these experiences and see themselves reflected in the work.

Our deep thanks to The Cheech for their ongoing commitment to supporting artists like Muñoz and championing work that expands the conversation around Latinx experience across regions.

Muñoz’s work is held in the permanent collections of El Museo del Barrio, Amon Carter Museum of American Art, Blanton Museum of Art, and National Museum of Mexican Art, among others.

We The People: Chicano Art in the U.S.A. Exhibition

RIVERSIDE, Calif. (May 8, 2026) – The Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum (“The Cheech”) marks its fourth anniversary with We the People: Chicano Art in the U.S.A., on view May 30, 2026 through May 23, 2027.

This year’s annual presentation focuses on themes of identity, migration, community, and cultural memory, drawing from Cheech Marin’s renowned collection, the museum’s permanent collections, recent gifts, newly acquired works, and artist loans. Organized by artist and curator Benito Huerta, the exhibition includes 126 works by 61 artists, including Vincent Valdez, Chaz Bojórquez, José Lozano, and Sonia Romero. Featuring several works on view for the first time, along with others recognized as visitor favorites from previous exhibitions, We the People offers a timely lens on contemporary life.

Recent acquisitions from the estate of José Esquivel, co-founder of Con Safos, one of the earliest Chicano art groups in the country, and loans from artists Arely Morales and Alejandro Macias broaden the exhibition’s scope.

“We the People: Chicano Art in the U.S.A. is a declarative statement that we, Chicanos, are part of the people of these United States of America. We are integral to the fabric of this country and American art,” said Huerta.

Through painting, drawing, printmaking, sculpture, and mixed media, the exhibition explores how artists confront the realities of daily life, from family traditions and neighborhood rituals to broader social and political tensions shaping the nation today. Designed to encourage dialogue, We the People presents unexpected juxtapositions that invite movement through the galleries in new ways. Along the way, visitors will encounter works that are both intimate and expansive, addressing issues such as migration, labor, climate change, cultural pride, and the complexities of representation.

Highlights include Lalo Alcaraz’ Summer of ICE (Abandoned Paleta Cart), inspired by the real-life detention of a beloved street vendor forced to leave his livelihood behind. A Miracle for the Masses by Benjamin Muñoz features a paleta cart emblazoned with the words “Assembled in America” and the iconic “Huelga” symbol of the farmworker and civil rights movements, and now emblematic of resistance.

Also featured is the recently acquired Mojado No.1 by Israel Alejandro García García, an installation about the artist’s experience with migration, border politics, and the complexities of documentation.

“This exhibition reflects the depth and diversity of Chicano art and the stories that shape our communities. It’s important that these works are seen as part of the broader American experience,” said Cheech Marin. As a leading institution for Chicano art, The Cheech continues to work with guest curators locally and across the country, bringing fresh perspectives and a broader view to its exhibitions.

New Podcast Interview - A Creative Excuse

Kara and Frank of A Creative Excuse and Hecho A Mano Gallery sit down for a lively conversation with Benjamin Muñoz about American Allegories, our history working together, and creating art in late stage capitalism

Listen Here

New Print: Vacated

Vacated is a co-publication with Familia Printshop and was produced at Delita Martin’s Black Box Press in Houston, TX

The Amon Carter Museum of Art acquires Familia Series

About The Series

Familia is a suite of four woodcuts, created over the span of two years, that discuss family, cultural identity, religion, and humility.

Heed and Epilogue were co published and funded by Dr. Gilberto Cardenas and the Flatbed Center for Contemporary Printmaking. These two prints published in 2020 joined Salvation and Justice & Righteousness, finishing the Familia suite that was started in 2018. Each of the four wood blocks measure 36 inches wide and 62 inches high.

The series was first displayed in my solo exhibition Over My Head which received tremendous reviews and is now in the permanent collections of The Amon Carter Museum of Art and The Blanton Museum of Art. This series has gone on to be displayed in galleries and art fairs in various states across the country including New York, California, New Mexico, Texas, Georgia, Florida, Michigan, Virginia, and Maryland.

Individual prints from within this series have been added to the permanent collections of several museums and institutions. However, the Amon Carter Museum of Art is the first museum to acquire this series in its entirety.

Production photos from the Flatbed Center for Contemporary Printmaking