Activism. Many of the artists represented in Holy Terrors use their art to bring about social change—whether in terms of feminist politics (Teatro la Máscara, Diana Raznovich, Sabina Berman, Teresa Ralli, Astrid Hadad), anti-militarism (Diamela Eltit, Griselda Gambaro, Diana Raznovich, Jesusa Rodriguez, Denise Stoklos), fighting for the use of public space (Rosa Luisa Márquez, Teresa Ralli, Diamela Eltit, Tania Bruguera, Katia Tirado, Ema Villanueva, Denise Stoklos, Teresa Hernández), indigenous rights (FOMMA, Jesusa Rodriguez) and so on. In that broad sense, they are all socially engaged. Some of them are “artivists” (a term that binds art and activism) who use their art to make a direct social intervention. Jesusa Rodríguez and Liliana Felipe wrote songs and staged rallies to stop the move to privatize oil in Mexico. FOMMA as a theatre organization has created a safe space for Mayan women and children. Diamela Eltit, as a founding member of the legendary CADA (Colectivo de acciones de arte) worked to contest Pinochet’s dictatorial regime. This path takes us through these activist and artivist intervenions and connects them to the works of women artists not represented in this volume: Regina Galindo (Guatemala), Mujeres Creando and Comunidad Mujeres Creando Comunidad (Bolivia), Patricia Ariza (Colombia) among others.