Wooden panel covered in plaster or gesso and painted. Tabla shows the assassination of community authorities by ‘Shining Path’ insurgents. The men with rifles are wearing balaclavas. This episode in the series evidences the reaction of the Maoist group to the destruction of the local community centre by State military. This act constituted a counter-threat.

Wooden panel covered in plaster or gesso and painted. Tabla shows men in military camouflage, raiding the Empresa Comunal de Sarhua, the community centre at Sarhua, which held community records and cultural knowledge. The image also shows residents from Sarhua (‘Shining Path’ supporters?) climbing a fence to escape the State military - known as Sinchis. The people watching the destruction of the Empresa Comunal are visibly shocked and saddened. They argue amongst themselves. US trained Peruvian counterterrorist police are shown looting and destroying the autonomous community building at Sarhua.

Wooden panel covered in plaster or gesso and painted. Tabla shows the village square in Sarhua. People in traditional Ayacuchan dress stand in a large circle, listening and applauding a group of people holding rifles and red flags decorated with the hammer and sickle. There is a short text in Spanish explaining the episode in the Maoist ‘Shining Path’ armed conflict. The Shining Path insurgents make promises of much needed economic help. Initially the terrorists were met with support from the local communities in Ayacucho.

Painted house beam. Object is a slice of a tree trunk, covered in white plaster on the front, with the bark left on the back. The part that has been plastered is painted with natural pigments. The beam would be read bottom to top. At the bottom is one of the patron saints; San Juan Bautista. In phrases divided by various patterns, such as flowers and llamas, the beam depicts a range of daily activities such as sowing seeds and weaving. The persons represented are named in writing. At the top of the beam is the sun.

Highly detailed drawing in black ink, on natural amate paper. Horizontal orientation on rectangular paper. The imagery depicts the migration of workers to the USA. The image covers almost the entire paper except for the outer border. Artist inscription below at left.

Highly detailed drawing in black ink, on natural amate paper. Vertical orientation on rectangular paper. The imagery depicts maize agriculture and tortilla production. The image covers almost the entire paper except for a thin border. Artist inscription below.

Very wide brown paper protest banner; horizontal orientation. Text and illustrations are divided into fifteen panels. The first panel has the title (farthest left), then the panels alternate between text and illustration until the end. Artist names and INAH inscription at farthest right end, lower corner.

Luzbel devil costume; large black velvet sequinned tunic (part b), with matching pants (part c). Made of black velvet with white fringe all along bottom of tunic, cuffs, and pant legs. Tunic has shiny red wing-like extensions with solid red sequin stickers underneath. Separate star or comet(?) designs on each arm. Back of tunic has heavily sequinned Mayan design in green, silver and red; large red devil face on front. Many plastic discs and flowers sewn on. Two silver six-point stars with a short string of silver bead garland are attached on the left side. Black corduroy pants have drawstring waist, and sequinned designs on pant legs and below devil face. (Part a is the matching cape.)

Highly detailed drawing in black ink, on natural amate paper. Vertical orientation on rectangular paper. The imagery depicts tiered agricultural scenes. The image covers almost the entire paper except for the outer border. Artist inscription below.

Highly detailed drawing in black ink, on natural amate paper. Vertical orientation on rectangular paper. The imagery depicts scenes of political campaigning. The image covers almost the entire paper except for the outer border. Artist inscription below.