The eminent expatriate artist Elizabeth Catlett has spent much of her life working in Mexico while remaining active, though sometimes unwelcome, in American politics. This early print, made a year after Catlett’s move to Mexico, exemplifies her commitment to creating images that speak to the culture of the working class. The prominence of hands and arms functions as a formal device to crop an intimate compositional space for the viewer, as well as a narrative device to represent physical gestures of self-declaration, confinement, and control. As such, the central outlined figure—possibly an autobiographical figuration of Catlett—is both ensconced within and liberated from the physical and social community.