other a hand with big orders. Demand rises and falls; sometimes there is no work, and sometimes families work 18 hours a day. The original designs for Pedro Linares' alebrijes have fallen into the public domain. However, according to Chapter Three of the 1996 Mexican federal copyright law, it is illegal to sell crafts made in Mexico without acknowledging the community and region they are from, or to alter the crafts in a way that could be interpreted as damaging to the culture's reputation or image. The law applied to the commercialization of the crafts as well as to their public exhibition and the use of their images. However, this law is rarely enforced; most crafts sellers in Mexico rarely give where the origin of their products are from. The name "alebrijes" is used for a wide variety of crafts, even though the Linares family has sought to gain control over the name. The family says that pieces which are not made by them and do not come from Mexico City should state so. The Linares family continues to export their work to the most important galleries showing Mexican art worldwide. For example, "Beasts and Bones: The Cartonería of the Linares Family" in Carlsbad, California, featured about seventy alebrijes and was so popular that it was extended by several weeks. However, because a variety of artists and artisans have been creating alebrijes in their own styles, the craft has become part of Mexico's folk art repertoire. No two alebrijes are exactly alike. Outside of the Linares family, one of the most noted alebrije artists is Susana Buyo, who learned to work with cardboard and papier-mâché at one of the Linares family workshops. Known as the "Señora de los Monstruos" by the local children in Condesa, an upscale neighborhood of Mexico City, she is a native Argentine and naturalized Mexican citizen. Her work can be found across Mexico City and elsewhere, such as those in Europe. Her work differs from that of the Linares in that many of her designs include human contours, and many have expressions more tender than terrifying. She also uses nontraditional materials such as feathers, fantasy stones, and modern resins, both for novelty and for durability. While Pedro Linares dreamed up the creatures, they did not surface in a vacuum. Similarities and parallels can be drawn between alebrijes and various supernatural creatures from Mexico's indigenous and European