Enrique Chagoya’s aesthetic is borne, like that of so many other American artists, out of an immigrant’s ambivalence toward his new home. He is constantly torn between modes and between borders—in his case, between Mexico and America. “My artwork is a conceptual fusion of opposite cultural realities that I have experienced in my lifetime,” Chagoya has said. “I integrate diverse elements: from Precolumbian mythology, western religious iconography and American popular culture.” Chagoya’s desired fusion is evident in Road Map, a color lithograph designed in response to President George W. Bush’s proposed “road map for peace,” a 2002 timetable to end the Israeli-Palestinian conflict by 2005. It is as much an affront to art-historical tradition as it is to our current political authorities, inspired by sources ranging from painting’s moralists—his name, of course, recalls Goya—to mid-century American comic books. An oversized American continent dominates the paper, surrounded by snide cartoons about oil, the environment, and war. Caricatures of Hope and Hopelessness in the lower corners recall the allegorical antiheroes of Hieronymous Bosch, whose own antiauthoritarian caricatures were an exaggerated response to an earlier era of modernization. Chagoya, perhaps referring to Bosch, added artificial folds and stains to the print to make his work resemble a late medieval map. He includes hand-drawn penciled elements that seem out of place on a political pamphlet, so the end result is an almost twee pastiche that engages the audience, like Goya, in a political debate on populist terms.