The ofrenda is a tradition with an intangible Mexican cultural significance that moves between time and space. The performative nature of installing the ofrenda transcends space because it happens in multiple spaces, public and private, domestic and institutional, individual and communal, national and international. This practice highlights the interconnectivity of an entire population that remembers loved ones and creates a practice of art memory. The temporary aspect of the ofrenda is related to the idea of the dead, which implies the concept of time. This cycle about every year resurgence of altars passed by generations of family members conquers time.

At the same time, they want to remember dead defiance in a circle that never ends. This cycle of Death in México has a rich history of glorification, respect and forms of violence engrained in its history for the LGBTQ+ community. The appropriation of altars in Mexican culture has created a form of activism in which I intent to portray LGBTQ+ hate crimes and display awareness of these problems in Mexico. The altar will honour and remember those in the LGBTQ+ community who have fallen before me and celebrate those who fought for their rights. Exploring issues in the ofrenda like the death sentence for the use of LGBTQ+ people for economic gain or commodification. To showcase how the LGBTQ+ people are fighting the systematic and institutionalized slow killing of their community members.