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This chapter critically examines the dependence on living related organ donors in Mexico, taking Frida Kahlo’s painting The Two Fridas as well as the resonant, ubiquitous image of la Virgen de Guadalupe as key analytic touchstones. Delving more deeply into the questions of gender, risk, and responsibility raised in the introduction in the iconic figure of the self-sacrificial mother, this chapter traces their consequences for how transplant has come to matter as both practice and idea. What emerges is a pervasive discourse that proudly posed la familia mexicana as kind of cultural technology, as a natural/national resource that made living...

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