Structured around Anzaldúa’s 1992 visit to an exhibit of Mesoamerican culture and art, this chapter builds on and expands previous discussions of spiritual mestizaje and aesthetics, grounding them in a theory of “border arte”–a disruptive, potentially transformative, decolonizing creative practice–called “the Coyolxauhqui process.” Retraces her journey through the museum’s exhibit, Anzaldúa explores colonialism, neocolonialism, and the subjugated artist’s role in the decolonization process. Emphasizing border arte’s personal and collective dimensions, Anzaldúa connects her aesthetics to the work of other border artists–like Santa Barraza, Liliana Wilson, Yolanda M. López, and Marcia Gómez. Anzaldúa connects revisionist mythmaking with epistemology while expanding previous definitions of the borderlands, mestizaje, and mestiza identity. This chapter explores other issues, including questions of authenticity, appropriation, and commodification; debates between indigenous and Chican@ authors; and the development of identities which are simultaneously ethnic-specific and transcultural; Anzaldúa’s theories of “el cenote” (imagination’s source of previously untapped, collective knowledge) and ; “nos/otras.”