draft the "Plan Espiritual de Aztlán," which would become a sort of blueprint for the Chicano movement. It starts by addressing the idea that Chicanos must utilize their nationalism as a "common denominator for mass mobilization and organization." The document names their seven organizational goals as: unity in the minds of the people in the liberation of La Raza; economic control of their own lives and communities without exploitation; education that was relative to the Chicano; institutions that serve the people on a basis of restitution for past actions; self-defense that relies on the combined strength of the community; use of cultural values to strengthen the moral backbone of the movement; and political liberation through independent action. The document also entails actions to be made that included informing the public, performing large demonstrations and walkouts, and creating political parties and using participatory democracy. The Chicano movement is believed by some to have ended in the 1970s, but others have a view that the shift in intensity was caused by a cultural renaissance within the movement. Chicano art during and after the Movement Chicano art became an integral part of the Chicano movement during the 1960s. This new artistic expression was energized through increased political activism and cultural pride. Many intellectuals view this internal artistic movement as a Chicano cultural renaissance. Chicano art was rooted in a number of strong ideologies, including community, activism, and ancestral ties. The murals, novels, newspapers, sculpture, paintings and other forms of expression created by Chicanos helped shaped Chicanismo and presented this newly formed group with hundreds of years of history. The artistic movement's role in the shaping of Chicano ideology cannot be understated. It was a movement based in Cultural affirmation and artistic expression was the premium method for Chicanos to go about this celebration of heritage and liberty. As time passed, Chicano art continued to transform and take the shape of the community it revolved around. Many Chicano artists focused on representations of "el barrio" and they sought to connect to their audience by championing their daily struggles. Reliance on the community structure remained imperative and many galleries that supported the youth in Chicano areas were formed. Graffiti also becomes a vital reflection of Chicano art in Chicano neighborhoods. In the piece "Phantom Sightings: Chicano Art After the Movement," authors Rita Gonzales, Howard Fox, and Chon Noriega detail the many transformations Chicano art takes