on the Great Goddess so their sex cannot be deduced. There is a history of masculine and feminine attributes being shown within the same figure in Mesoamerican art. The Maya Maize Deity can be seen as an example of this, as posited by Bassie-Sweet. Considering the importance of maize, or corn, which has the ability to switch between the two biological sexes. With the fact that Mesoamerican people considered themselves to be descendants of the corn plant, this nature based culture allows for ambiguity of sex and gender within the peoples. Furthermore, we have evidence that the Maize God inspired Maya elites, no matter their gender, to wear mixed-gender costumes to honor the Maize God. Mandell's article analyzes and reattributes each element included in the Goddesses depiction in the Tepantitla and Tetitla murals, reconsidering previous gendering of these elements. Pasztory references the three main elements of the Goddess: the avian headdress, the yellow and red zig-zags, and the nosebar. Mandell references many depictions of male and female deities where these elements are including, suggesting that it is impossible to determine any specific gendering from the headdress, zig-zags, and nosebar. Mandell then suggests that the mixture of these male and female attributes suggests that the Goddess is mixed-gender. More generally, many images have been understood as depicting the Goddess because of their inclusion of water, which is also understood as a feminine symbol. Mandell posits that there is nothing inherently feminine about this liquid. In the Tepantitla and Tetitla murals, the water is filled with seed and shell shaped object. Liquid with sea-life and sperm may represent semen made up of sperm, thus suggesting a masculine association. One of the reasons Pasztory had asserted that the Goddess was a feminine deity is because it was understood to be wearing a quechquemitl. The quechquemitl is often associated with female figures. However, the triangular shirt or cape had multiple meanings for different people that also changed over time, and therefore it cannot be used as a simple demarcation of a figure’s sex or gender. Similarly, the Goddess’ ear ornaments had been a factor in deciphering the deity as feminine. Mandell asserts that there is no conclusive evidence to support these ornaments as feminine, and rather this particular ear ornament has been seen on male and female gods. The short skirt seen worn by figures in the Tepantitla mural has been considered another attribute