The final object presents three murals where La Virgen de Guadalupe and the Eagle are integrated and juxtaposed. They exemplify the radical power behind this artistic technique. It does not have any music attached to it so that the audience can take control and form their own ideas and understandings of the “mestizaje” (mix) of political and religious iconography found in the Chicana/o movement. Instead of focusing on religious iconography or on political iconography, these murals integrate both institutions creating a new set of ideas. The murals presented hail from both San Diego and East Los Angeles

When asked “What are the words/ thoughts that come to mind while watching the murals that integrate both La Virgen de Guadalupe and the Eagle?” some of the responses included “Mexican identity”  “Usable power, duality, struggle, long history of this work.” One survey answered that they were “surprised by how powerful the Virgen symbol becomes when its next to the eagle. The eagle becomes part of her presence. She becomes a guide.” This particular comment shed’s light on how the virgin was once used in Mexico to bring the native population under the Christian church’s control (Peterson, 1992, 41), and now it is seen as an object of mobility, as an “immigrant object”

Once asked to measure if these images changes or stays the same when they are juxtaposed in a mural, 50 percent answered that the meaning of the images changes very much, 34 percent answered that they moderately change, and 16 percent did not answer the last question. Nobody marked the “Stays the Same, Very little, or Completely Changes” categories. These findings reveal that a shift in meaning certainly occurs when these images are presented together. Although the meanings of these images does not completely change, it creates a new hybrid meaning, with both religious and political undertones.

Undoubtedly, the mixture of these images produces an immense power which was even noted by United Farm Workers leader Cesar Chavez, “Guadalupe's revolutionary meaning has also been revived. To profess his personal faith and refute charges of Communist leanings, activist Cesar Chavez chose her as one of the principal symbols for the farmworkers' strike in the 1960s.  (Peterson, 1992, 46).