like a concrete poet, creating a visual mountain out of the letters that comprise the word "mountains." New City described the show as a "convergence of typography … feel-good imagery, fuzzy materiality and tragically romantic quotations" that evoked contemporary political anxiety and a sense of "good wishes unfulfilled." Later work In the 2010s, in exhibitions at Traywick Contemporary (Berkeley), the South Bend Museum of Art and Carrie Secrist (Chicago), among others, Guerrero-Maciá gradually shifted emphasis from text toward borrowed symbols and archetypal forms that she cut, dyed and stitched into bold, geometric compositions. Like her text pieces, these works connected ubiquitous icons—in this case, smiley faces, rainbows, targets, butterflies, hearts—with art historical references through graphic schemes, using diagrams or charts to reinvigorate their meanings and pose questions through cryptic personal and cultural references (e.g., her "Slow Blossoming" works, 2016). Among those meanings were messages embedded within the work's laborious, deliberately analog, handmade processes and tactile materials, related to gender and sexual equality, environmental and military concerns, cosmic speculation, and art/craft hierarchies,. Guerrero-Maciá's show "Siblings of the Sun" (2015) explored the theory that unknown universes were created by the Big Bang, its centerpiece an array of fifty small collages featuring bright color and simple geometric forms that DeWitt Cheng described as "an apt metaphor for the current art cosmos: pluralistic, hybrid, and buzzing with free-floating contradictions." Her "The Beautiful Girls" (2018) edition of prints presented diverse representations of gender and ethnicity through the visual motif of eyes, inspired by Hannah Höch’s Ethnographic Museum photomontages of the 1920s. In the show "The Devil’s Daughter is Getting Married" (Secrist, 2020) and works such as Always the Sun (An Intersectional Sunrise) (JMKAC, "High Touch" exhibition, 2021), Guerrero-Maciá presented paper collages and monumental gridded fields of cut cloth ornamented with three-dimensional props and familiar graphic motifs, which explored the visual pleasure of decoration, as well as subtle narratives about the ambitions of modernist abstraction, needlework and feminism, myth and her Cuban upbringing. Recognition Guerrero-Maciá has received fellowship from the John S. Guggenheim Foundation (2021), Illinois Arts Council (2019) and MacDowell (2022, 2004, 1998) and an award from the Louis Comfort Tiffany Foundation (2001). She has been awarded public art commissions from the Public Art Fund in New York and the Chicago Department of Cultural Affairs. Her work has been acquired by the public art collections of corporations, universities and museums including the Crocker Art Museum,