for the Chicano Movement and the Women’s Liberation Movement in Mexico which Lopez cites as further support that La Virgen is not only a religious symbol. The women photographed for the piece was motivated to model for it to reclaim her body and heal after being raped. She practices an indigenous spirituality that considers La Virgen de Guadalope to be Tonantzin, or mother earth. Controversy In 2001 Our Lady was included in an exhibit called Cyber Arte: Tradition Meets Technology at the Museum of International Folk Art in Santa Fe, New Mexico. Controversy ensued. The New Mexico Archbishop Michael J. Sheehan referred to Lopez’s Virgin as a “tart or streetwoman.” However, the overt female homoeroticism remained largely absent from the controversy. In response to this protest Lopez said that Our Lady is not about sex or sexuality, but instead about showing strong women and the real lives of Chicanas. The curator of the exhibit and Lopez received verbal and physical threats. Some of the responses to the work were homophobic, stating that the image of La Virgen did not belong to a queer feminist like Lopez. Lopez collected and posted the content of many of the threatening and supporting emails at her website. The controversy essentially became a part of the art piece itself. Following the controversy and the protest at many showings of Our Lady, Lopez wrote a book entitled Our Lady of Controversy: Irreverent Apparition. Heaven 2 Mural Heaven 2 was a mural displayed outside Galería de la Raza from November 2000 to January 2001. It portrays a woman on her deathbed thinking of herself and her lover holding hands on the moon. It was defaced with Bible verses and the gallery staff received homophobic threats and a gunshot through their window. La Historia de Adentro/La Historia de Afuera Mural This mural was painted by Yrenia Cervántez and Alma López on the Huntington Beach Art Center in 1995 as part of the Center's inaugural exhibition. The mural used elements of waters and waves and showed the history of people of color in the area. The contract for the mural was only through 2000, and in 2008 the new owners of the building decided to paint over it. Various Chicanx art scholars and community leaders attempted to save the mural, likening the destruction as the "equivalent to painting over the work of Diego Rivera," but the mural was ultimately