By Noelia Almanzar, Alliance Intern from Rutgers University ‘26
Latinx artists have a unique way of making the invisible visible through their art- shedding light on culture, history and racial justice. Dominican artist Joiri Minaya uses her work to challenge and destabilize both the historical and contemporary representations of the imagined tropical identity. Her art contrasts beauty with destruction, inspiring countless people, including myself, who is also of Dominican descent.
In her powerful Cloaking Series, Minaya covers statues of colonial figures such as Christopher Columbus and Juan Ponce de Leon with vibrant fabrics to both erase them, as they did to the Latinx people, and simultaneously shine light on our presence. These figures have been perceived as heroes but Minaya’s fabrics reclaim the space to honor the resilience and contributions of the marginalized communities they oppressed.
Each statue is draped in a uniquely designed fabric adorned with herbs and flowers significant to Indigenous peoples and the Afro-Caribbean diaspora. These plants symbolize purification, healing, protection and, in some cases, poisonous defense against colonizers.
The design covering Columbus features the Castor plant that, although not native to the Americas, could be successfully distilled into the potent toxin ricin by the Calusa people (Native Americans from southwestern Florida). It also includes ropesaraguey and yaupon holly, plants used in traditions of purging, cleansing, casting evil spirits away or protection.
The fabric designed for Juan Ponce de Leon displays the Manchineel Tree, whose poison was used in the arrow that killed him. Furthermore, using soft material like spandex to wrap the solid, serious statues further subverts the patriarchal and authoritarian codes of these monuments.
While these statues were originally placed in prominent public spaces to glorify these destructive figures, Minaya’s coverings transform them into beautiful symbols of our culture. To be able to display her artwork, she had to receive permits to cover the figures but, when not possible, Minaya still covered them regardless. She knew that what she was doing was essential in the realm of reclaiming cultural narratives. In such cases, she handed out postcards inviting exhibition viewers to share their thoughts.
By obscuring these so-called heroic figures, Minaya brings to light the marginalized groups erased from the history these figures helped create. In honor of Hispanic Heritage Month, it is crucial to reflect on how artists like Joiri Minaya use their work to reframe history, giving voice to the silenced and celebrating the resilience and richness of Latinx culture. Through her art, she reminds us of the importance of acknowledging and honoring the true narratives of our past.
It is oddly fitting that at the end of Hispanic Heritage Month is Columbus Day which has now been renamed Indigenous People’s Day, as it perfectly aligns with the entire purpose of Minaya’s work. To honor Indigenous peoples and the Afro-Caribbean diaspora, it would be amazing if we followed Minaya’s lead in covering the statues with the essence of us.
If all of the statues I see in both my countries were covered up rather than taken down, we could reclaim and celebrate our cultures shadowed by the statues of conquerors who are wrongly perceived as the makers of history.