This article argues that the history of Latino Theater is coemergent with the rise of neoliberalism in the United States and suggests that many of the major shifts in Latino theater production must be viewed within the development of artistic practices impacted by privatization, the development of transnational labor markets, and the incursion of market-based practices in arts funding. In doing so, it breaks with the decade-by-decade historiography of most Latino theater histories and with traditional understandings of identity-based art movements that posit a revolution-and-retrenchment argument from the 1960s to the present. The authors consider the funding records of major Latino theaters, their conditions of production, and the historiography embedded in the plays of Chicano, Nuyorican, and Cuban American artists.

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