Issue 9.13 - FOR WEB

VOL. 9 • NUM 13

www.LaPrensaTexas.com

29 de Marzo de 2026

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La Prensa Texas SAN ANTONIO

LA PRENSA TEXAS Founded 1913 - Fundada en 1913

Publisher / Editora: Yvette Tello y.tello@laprensatexas.com Community Liaison / Enlace Comunitario: Ramon Chapa Jr. r.chapa@laprensatexas.com Layout / Maquetación: Nicodemus Gonzalez Advertising & Production Coordinator / Coordinadora de Publicidad y Producción: Jessica Medrano Contributors / Colaboradores: Dr. Ricardo Romo, Henrietta Hernandez info@laprensatexas.com Editor Español: José I. Franco Sales Representative / Representante de Ventas: Maria Cisneros

La Prensa Texas is a grassroots, bilingual publication that serves as a vital voice for the community — especially for those who are too often left out of mainstream media conversations.

Since its founding, La Prensa Texas has been dedicated to providing relevant, accessible, and culturally rooted news that reflects the lives, struggles, and triumphs of the people of San Antonio and surrounding counties.

Our mission is simple yet powerful: to inform, inspire, and empower our readers through storytelling that uplifts the diverse voices of our community.

This publication continues to be the lifeline of local news, bridging the gap between the people and the stories that matter most.

Sales Info: Our Circulation 45,000 Printed And Distributed Weekly English And Spanish Send Press Releases And Advertising Inquiries To: Info@LaPrensaTexas.com 210-628-9611

29 de Marzo de 2026

Ms Rachel Speaks Out And Video Calls Get Blocked In Dilley

By Yvette Tello When a children’s educator speaks… people listen.

That’s exactly what happened when Ms. Rachel—someone millions of families trust, someone children recognize as a safe and familiar voice—used her platform to shine a light on what’s happening inside a detention center in Texas. She didn’t come with politics. She didn’t come with an agenda. She came with compassion—and she listened to a child. And that changed everything.

A young boy shared what he missed. His friends.

His school. His normal life. He didn’t ask for much—just a chance to be a kid again. And at that moment, millions of people weren’t hearing about policy… they were hearing a child’s truth. Then something happened. Shortly after that moment reached the public, video calls inside that facility were restricted. Let’s talk about that. Because whether you agree or disagree with immigration policies, this raises a bigger question—what happens when someone uses their voice to bring attention to something, and the response is to limit access instead of address the concern? Ms. Rachel did what educators do best—she created space for a child to be heard. And instead of that moment opening doors for conversation, it was followed by restrictions that made it harder for those voices to reach the outside world. That should make us pause. Not because of who said it—but because of what it represents. The power of a platform. The power of visibility. And the reaction that comes when something hidden becomes seen. We live in a time where social media can amplify voices in seconds. One video can reach millions. One story can shift public attention overnight. But with that power comes responsibility—and sometimes, resistance.nSo here’s the real conversation: Should platforms be used to bring awareness to situations like this? What responsibility comes with that kind of influence? And when attention leads to restriction, what message does that send? This isn’t about canceling or choosing sides. This is about understanding how powerful a single voice can be—and what happens when that voice disrupts the narrative. Because at the center of all of this isn’t a headline. It’s a child. And the question we should all be asking is simple: When a child finally gets the chance to be heard… Why does it feel like the system gets quieter instead of louder? Let’s talk about it.

A Mighty Girl: “The children inside Dilley can no longer write letters. They can no longer freely make video calls to tell people like Ms. Rachel that they miss their friends, that the food hurts their stomachs,

that they want to go to the spelling bee. The Trump administration and the guards made sure of that. But you can still make your voice heard.

--> Call your representatives at (202) 224-3121 and demand the immediate release of all children from the Dilley and Karnes detention centers and an end to child detention -- if you don’t reach a staffer, be sure to leave a message -- or you can look up your representatives directly at https:// www.congress.gov/contact-us --> To watch Ms. Rachel’s conversation with Deiver, visit https:// www.instagram.com/p/DVzUzozj19K/ Grace Spillane Jacobs: “Thank you for elevating this reality. We must protect the children. We must stand up for them.”

Marcela Metlich: “I am not from the U.S. nor do I live there, but never thought to live to see this in there. It seems like a nightmare from far far away, right next door. Thank you for sharing and being a voice for them.

Jamie Hart: “They’re wanting to build one literally 2 miles from my house in TN... but thankfully my community has heart/love and are pushing against it. I live in the VOLUNTEER STATE. We are southerners who accept all and will be the first one there to help out.”

Marcela Metlich: “I am not from the U.S. nor do I live there, but never thought to live to see this in there. It seems like a nightmare from far far away, right next door. Thank you for sharing and being a voice for them.”

Anne Bentley: “There is no justification for this whatsoever” Carol Kuhn: I am so sad and embarrassed by this country.

Paul Dienel: “Anything that helps humanize these people works against the government agenda, so of course they would block something like this.”

Patricia Patterson Goodwin: “Thank you so much for your work.I had no ideal this was happening much less in Texas. I’m sharing this , it’s so important” Jasmine Snyder: “So pro-life of them” Chris Skrodzki: “This breaks my heart. I hope this stays in history books to remind others to not be monsters.”

Owen Kuhn: “Thank you for reminding us that the fight is still going on. These people have no souls.”

Iris van der Borgt: “I thought we were done doing this in 1945?”

Ro Hamilton: “Unfortunately,the American government specializes in terrorizing kids in many ways. Ms. Rachel is a beacon of peace we need more people like her” Bruce Vaughn: “Don’t know what’s going to be done about this but something is going to be done and I’m going to be part of getting it done!”

Ko Mah: “Thank you for this. I needed a wake up call. I was aware, but this paints a more detailed picture.”

LuAnn Vance: “Thank you , Miss Rachel for bringing this to our attention. These are cruel and unusual punishment.”

Nik Tinebra: “I hope the child didn’t face any worse consequences for talking to Ms. Rachel.

That’s what scares me most in the immediate. All of this is horrifying. These poor children.”

Ulysses Steven Suarez: “America is the modern day Germany?”

Elaine Bridgewater: “Amazing how much time and effort they spend on protecting their own cruetly” Carlos N Barb Morales; “Heartbreaking the children in detention have to go through this. There is no humanity in the hearts of this administration”.

Melissa Lugo: “She’s just a wonderful person. She is the Mr Rogers of this generation” Mary Lou Rogian: “There are more of us than them. Let’s have a liberation day” Ella Faith Leirer: “Diaries of Anne Frank - live hap and pening while we live and breathe”

MateoKai ItsDrew: “They keep the public out. You really think they’re not treating everyone in there, including kids like crap?

Jennifer Lindsey Burnett: “So many children and women being hurt” Mariana Oraskovich: “Jasmine Crockett- time for congress to get these kids out” Dave Butler: “Prosecute CoreCivic. Abolish #Private Prisons” Rayleigh Ohanlon: “and suddenly my daughter will be watching Ms Rachel” Cathy Krause; “Cruelty is the business plan”

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La Prensa Texas SAN ANTONIO

About The Cover Artist: Yolanda Rios Wurgler: A Life Reimagined Through Art Provided by The Artist San Antonio native Yolanda Rios Wurgler is a self-taught artist whose journey reflects resilience, reinvention, and a lifelong passion for creativity.

Raised on the city’s Southwest side and a graduate of Harlandale High School, Yolanda showed artistic promise early—designing her own clothes and sketching hairstyles that eventually evolved into detailed portrait work. Without formal training, she began painting with simple watercolor sets and whatever materials she could find. Her natural talent carried her forward, laying the foundation for what would become a lifelong artistic calling. At 21, Yolanda moved to Chicago, where life took her in a different direction. For decades, she focused on work and family, placing her art on hold. It wasn’t until years later, after taking a few formal art classes, that her creative spark reignited. That revival led her across the world—to Ire-

land and Belgium—where she immersed herself in oil painting, photography, and artistic communities.

In Ireland, she painted daily during one of the most prolific periods of her life, refining her technique while connecting with other artists. In Belgium, she became deeply involved in the American Women’s Club of Brussels, where she exhibited her work and even served as an Assistant Art Curator. Beyond painting, Yolanda has also been designing handcrafted jewelry since the 1970s— turning a simple turquoise necklace project into a successful creative business through word-of-mouth demand. After returning to the United States and eventually settling back in Texas in 2004, life once again shifted. Yolanda became a full-time caregiver for her parents and brother during a difficult period marked by illness and loss. Her art paused—but never disappeared. More than a decade later, she experienced what she calls her “second renaissance.” Inspired by San

Antonio’s Frida Festival, Yolanda returned to creating—this time experimenting with alcohol ink. Her work was accepted into the festival, marking a powerful comeback and opening the door to new opportunities. Since then, her art has been featured in exhibitions and markets across San Antonio, including Luminaria’s The Frida In Us exhibit and upcoming shows with the San Antonio Art League and Museum. She continues to expand her presence locally while preparing to showcase her work at new creative spaces like Basila on the Westside. Working across multiple mediums— oils, acrylics, ink, pastels, and more—Yolanda remains especially drawn to portraiture. Capturing emotion, expression, and the human spirit is at the heart of her work. Today, firmly rooted back in her hometown, Yolanda Rios Wurgler continues to create, evolve, and inspire—proving that it’s never too late to rediscover your passion and tell your story through art.

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Women of Conjunto Take the Stage in San Antonio

By Yvette Tello In a city where music is woven into its identity, San Antonio witnessed something powerful—a night where women didn’t just participate in conjunto… they led it. Roots to Reinas: De las Raíces a las Reinas, presented

by Conjunto Heritage Taller (CHT), brought together an all-female lineup that honored the past, celebrated the present, and boldly shaped the future of conjunto music.

More than a concert, the event was a cultural statement. From the opening notes by CHT students to the final performance by legendary accordionist Eva Ybarra, the night told a story—one of legacy, resilience, and

the undeniable role women have always played in this genre.

For generations, conjunto has been considered a male-dominated space. But events like Roots to Reinas are rewriting that narrative, making it clear: women have always been part of the music—they just weren’t always given the stage. That changed.

The evening featured a powerful lineup of artists, each representing a different layer of conjunto’s evolution.

Susan Torres Nevarez, a respected accordionist and educator, brought both tradition and innovation to the stage. With deep family roots in conjunto and a career that spans genres from Tejano to jazz, her presence was a reminder that

women are not new to this space—they are foundational to it.

As a member of the Conjunto Music Hall of Fame and a leader in music education, she continues to shape the next generation.

Cruz Martinez carried forward a family legacy that helped define the sound of conjunto. Her performance honored decades of music history, rooted in harmony, storytelling, and cultural pride. Lisa Morales expanded the boundaries of the evening, blending Latin, folk, rock, and Americana influences. Singing in English, Spanish, and Spanglish, Morales delivered a performance that reflected the modern identity of the culture—layered, evolving, and deeply

personal. The Texas Sweethearts, an all-female group grounded in family and tradition, brought energy and unity to the stage.

Their sound—a blend of Tejano, country, and Tex-Mex—highlighted the strength of women creating music together, on their own terms. And then came the headliner. Eva Ybarra, known as La Reina del Acordeón, closed the night with a performance that was both commanding and deeply emotional. A San Antonio icon, Ybarra has spent a lifetime breaking barriers in conjunto music. Her influence extends far beyond the stage—mentoring young artists, including the next generation of all-female performers emerging

through CHT. Her presence was more than symbolic. It was full circle. Throughout the evening, one message was clear: this is not a moment—it’s a movement. Roots to Reinas created space for young girls to see themselves in the music. It honored the women who came before, and it amplified the voices of those carrying the tradition forward. In San Antonio, where culture lives through sound, storytelling, and community, this night proved that conjunto is not just surviving— it is evolving. And leading that evolution are women. Because conjunto isn’t just about where we come from. It’s about who we choose to lift up.

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Position: Senior Data Integration Developer Whataburger Restaurants LLC seeks Senior Data Integration Developer in San Antonio, TX to drive middleware development and establish a sustainable SOA to be used in on-going development activities. BS in CS, CIS, EE or related. 4 yrs exp.

Req’d exp incl: ETL tools, including Datastage; MS SQL, and IBM Netezza; data mapping; design, modeling, and implementation of data warehouses; Informatica; Snowflake; Python scripting; and Azure data tools. Email resume to tateam@ wbhq.com.

American Red Cross Classes in Preparation of Summer 2026 Lifeguard Class (Full Courses) UTSA : UTSA will offer three full LG classes this spring. The dates are March 5-8th, March 12-15th, and April

29 de Marzo de 2026

USIO, Inc. seeks F/T Jr Software Developer for their Shavano Park, TX location. Duties: Develop & Maintain Code – Write, test, and debug software applications. Troubleshoot Issues – Identify and resolve software issues and performance problems. Testing & Deployment – Assist in writing tests and deploying software updates. Version Control – Use Git and repositories for source code management. A U.S. Bachelor’s Degree or a Foreign Equivalent Degree in Cyber Security req. Interested applicants please submit resumes to Joshua Martinez at usioinc.tx@gmail.com.

NOW HIRING

16-19th. These courses will cost $210. To sign up for these classes, go to: https://campusrec.utsa.edu/aquatics/lifeguarding.html Texas State University: Texas State University will offer two full LG classes this spring. The dates are April 17-19th and May 8-10th. These courses will cost $200. To sign up for these classes, go to: https://recconnect. campusrecreation.txstate.edu/Program?classificationId=e73a310f-eb34-4ab5-8cb9-95a12112f8ae# JBSA Fort Sam Houston: Fort Sam will offer three full LG classes this spring. The dates are January 17th, 18th, 24th, and 25th, February 7th, 8th, 14th, and 15th, February 28th, March 1st, 7th, and 8th. These courses will be $180. To sign up for these classes, go to: 502FSS.Aquatics.FSH@us.af.mil or call (210) 221-1234 Water Safety Instructor (WSI) - HIGH DEMAND!!

UTSA: UTSA will offer one WSI course April 11-13th. The cost for this course is $275.

To sign up for this class, go to: https://campusrec.utsa.edu/aquatics/lifeguarding.html Texas State University: Texas State University will offer one WSI course March 16-18th. The cost for the course is $225. To sign up for this class, go to: https://recconnect.campusrecreation.txstate.edu/Program?classificationId=e73a310feb34-4ab5-8cb9-95a12112f8ae# Lifeguard Recertification UTSA: UTSA will offer one LG Recert class this spring on April 24th. The cost for this course will be $160. To sign up for this class, go to: https://campusrec.utsa.edu/aquatics/lifeguarding.html Texas State University: Texas State University will offer one LG Recert class this spring on April 12th. The cost for this course will be $135. To sign up for this class, go to: https://recconnect.campusrecreation.txstate.edu/Program?classificationId=e73a310f-eb34-4ab5-8cb9-9 5a12112f8ae#

Math Teacher (San Antonio, TX): Teach Math at secondary sch. Bachelors in Math or Math Edu.+1 yr exp as Math tchr at mid or high sch. Mail res.: Harmony Public Schools 1255 Enclave Pkwy, Houston, TX 77077 Attn: HR Dept., Refer to Ad#UI.

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La Prensa Texas SAN ANTONIO

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The Duran Family

more important than

of La Prensa is proud

ever, Lucy Adame-

to, with great respect

Clark stands out as

and confidence,

a leader who leads

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transparency, and ensure that essential s h e s e r v e s . S h e ensuring that every friends, readers, and a r e h a s p r i o r i t i z e d v o i c e h a s t h e neighbors to support County. Throughout delivered efficiently making government opportunity to be the Honorable Lucy the people of Bexar s e r v i c e s

her tenure, she has and with integrity. p r o c e s s e s m o r e heard and every Adame-Clark worked diligently H e r l e a d e r s h i p a c c e s s i b l e record is handled to

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accessibility, and of the community c o m m u n i t i e s , public institutions is

—

The Duran Family La Prensa Foundation

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29 de Marzo de 2026

Spurs Give Y Frost Bank Ayudan A Empower House Y Good Samaritan Por Franco La Fundación Spurs Give, del pentacampeón equipo Spurs de San Antonio y Frost Bank, otorgaron donativos con un total de $200,000 a dos organizaciones locales sin fines de lucro, dentro del programa denominado Operation Renovation.

Los fondos económicos fueron otorgados a Empower House y Good Samaritan Community Services, para ayudarlos en sus respectivas remodelaciones y a la vez proveer a estudiantes lugares seguros en

programas de aprendizaje y diversión.

En boletín oficial informativo se destacaron las elecciones de ambas instituciones quienes están a la vanguardia brindando lugares seguros en sus respectivas comunidades.

Lo cual seguirá siendo la meta para que adultos y pequeños sigan teniendo espacios de gran calidad de vida.

Desde la temporada NBA 20182019, Spurs Give y Frost Bank, han otorgado donativos comunitarios por la cantidad de $1.2 millones de dólares

beneficiando a 15 organizaciones locales de San Antonio dentro del programa Operation Renovation, que es una iniciativa comunitaria apoyando a organizaciones sin fines de lucro.

Cada año los aplicantes para recibir diAchos estímulos económicos para recibir la cantidad de más de $100.000 para ser utilizados en programas de reconstrucción, deben hacer sus respectivas gestiones mediante Online esto será para la agenda de año fiscal 2026-27 Operation Renovation,

ha partir de los primeros días de mes de noviembre.

“A como las necesidades van aumentando en nuestra comunidad, los espacios que sirven a los pequeños y adultos van creciendo nosotros estamos orgullosos de poder compartir en conjunto con Frost Bank apoyando organizaciones en la creación de cambios saludables.

Operation Renovation, seguimos construyendo improvisaciones favorables dentro de nuestra comunidad”, así se expresó Julie

McCarty, Associate Vice President of Community Investment for Spurs Sports & Entertainment (SS&E).

Empower House anteriormente conocida por Martínez Street Women’s Center, atiende ha familias en los sectores del este y oeste de San Antonio.

Good Samaritan Community Services, es una antigua organización sin fines de lucro que sirve las necesidades del sector oeste en la ciudad de El Álamo. (Fotos cortesía de SS&E).

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Home Alters Mamá’s Repisa

By J. Gilberto Quezada The story of Mamá’s repisa, or home altar, is a deeply personal and spiritual journey that spans decades, homes, and generations. In the 1940s and early 1950s, nestled in the heart of Barrio El Azteca at 402 San Pablo Avenue in Laredo, Texas, Mamá’s humble one-shelf repisa stood on the wall as a quiet but powerful testament to her devotion.

Above that single shelf, she placed the revered image of Our Lady of Guadalupe, her beloved Virgencita. It was not ornate or elaborate, but it radiated warmth and faith, anchoring the family’s spiritual life in a home with a dirt floor and two rooms filled with love. Then came the devastating flood of 1954, which swept through the neighborhood and destroyed much of what the family had built—including Mamá’s cherished repisa.

Miraculously, the image of Our Lady of Guadalupe survived, untouched and intact, as if protected by divine grace. That moment marked a turning point.

When the family relocated to 210 Iturbide Street, just two blocks away, Mamá’s altar was reborn. Papá gifted

her a new repisa, this time with five levels, a gesture that honored her unwavering faith and gave her a more expansive space to express it. When Mamá saw it, she cheerfully exclaimed, “Mi Repisita,” and clasped both hands to her chest.

The new repisa became a sacred centerpiece in the home, and above it, Mamá placed the image of Our Lady of Guadalupe. On the top shelf, Mamá placed votive candles, each one lit with intention—for healing, for gratitude, for special requests whispered in prayer.

The remaining shelves held her prayer books, rosaries, novenas, and other religious artifacts that reflected her deep connection to her faith and her community. It was not just a personal altar—it was a spiritual refuge for neighbors who came seeking comfort, guidance, and Mamá’s prayers. When the family moved again to 801 Zaragoza Street, the repisa came along, as essential as any piece of furniture.

It had become more than wood and shelves—it was a living archive of devotion, a symbol of continuity.

And when Mamá and Papá moved to San Antonio in the mid-1970s, the repisa

followed, still crowned with the image of Our Lady of Guadalupe, still glowing with candlelight and quiet reverence. It was a constant in a life full of change, a sacred thread woven through every chapter.

After Mamá’s passing in 2003, the repisa found a new home in our bedroom, where it continues to serve as a tribute to her legacy. I have placed the image of Our Lady of Guadalupe beside it, honoring Mamá’s tradition but not keeping the image above the repisa. It is not just a piece of furniture— it is a vessel of memory, love, and spiritual strength.

Every time I see it, I am reminded of her nightly prayers, her kneeling figure, her whispered hopes for my success and well-being. The repisa, or home altar, is not just a personal tribute—it is part of a long-standing tradition deeply woven into the fabric of Mexican and Mexican American culture.

These sacred spaces, often adorned with candles, photos, and religious icons, serve as daily reminders of faith, family, and memory.

Mamá, born in the lush coastal state of Veracruz, likely grew up surrounded by this practice, learning its

significance from her own mother and grandmother.

Her repisita was more than decoration—it was a quiet inheritance, passed down through generations, echoing the spiritual rhythms of her heritage. And perhaps most moving of all is the memory of Mamá kneeling before her home altar each night, her devotion unwavering.

She prayed not only for her children but for her

neighbors, for their struggles and joys, for the unseen burdens they carried. Her repisa was a sanctuary, and her prayers were a lifeline.

That legacy lives on— not just in the repisa and candles, but in the spirit of compassion and faith she passed down to me. I took a photo of Mamá’s repisa which rests comfortably in our bedroom.

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Latino Artist Menjívar’s Murmurations at the Contemporary at Blue Star Activates Social Change

By Ricardo Romo, Ph.D Mark Menjívar’s Murmurations, a new, expansive, mid-career survey exhibition highlighting 16 multifaceted projects from his past 20 years, is currently open at the Contemporary at Blue Star in San Antonio. His work includes socially engaged art, photography, sound studies, capital punishment, migration, and ornithology. His creative artistry also integrates social practice and participatory collaborative projects to create intentional community building rather than studiobased production. Jacqueline Saragoza McGilvray curated this splendid exhibition.

Menjívar, a UT San Antonio art professor, is known for engaging in long-term collaborations, oral histories, and community-based research to address topics such as access to food, capital punishment, migration, and border issues.

In his long-term projects, he creates frameworks that bring together students, community groups, and leaders for critical dialogues about issues that affect their lives.

Over the last two decades, Menjívar has worked on over a dozen multifaceted projects. In the Contemporary mid-career survey, Blue Star curators highlighted a selection of projects, such as the refrigerator or photo project and the Luck Archive, and debuted new works.

The Luck Archive features

collections of artifacts displayed that are not about being lucky or unlucky, Menjívar tells us. Rather, “It’s about the truths and lies we tell ourselves to feel safe, the hopes and dreams we carry, and the things that connect us and make us human.” Menjívar’s book, The Luck Archive,contributes to our understanding of the project’s purpose and outcomes. In a foreword to the book, artist Harrell Fletcher writes: Menjívar “has spent years engaging people in airplanes, bingo halls, grocery stores, tattoo shops, parks, and baseball stadiums, and on the streets and in their homes.

The result is an ongoing exploration of the intersections between luck and the beliefs, superstitions, and traditions people hold dear.”

The physical Luck Archive c o n t a i n s mo r e t h a n 4 5 0 enrtrees that include rings, coins, clovers, charms, patches, underwear, sports superstitions, lottery strategies, day trader insights, animal stories, dolls, games, crystals, seeds, cigarettes, rainbows, and more, collected in photographs and accompanying explanation of the objects Menjívar admits that he created something from nothing, and about something that may be nothing, or may be more important than we could have known had he not made it obvious for us.

In his book, The Luck Archive: Exploring Belief, Superstition, and Tradition,Menjiar noted that the Luck project started

over a decade ago when he began organizing the stories, objects, and photographs about people’s ideas about luck and good-luck objects into a publicly accessible collection.

Harrell Fletcher, who has followed Menjívar’s career for decades, noted that the S a n An t o n i o a r t i s t u s e s photography (and various other media and approaches) to explore aspects of life that are normally hidden from view. Today, especially with the advent and acceptance of socially engaged art practices, Fletcher wrote, it is possible to operate transparently, as Menjívar does, in more involved, inclusive, and participatory ways. The UT San Antonio professor has used his practice to investigate everything from the food in people’s refrigerators to the effects of the civil war in El Salvador.

The first project that really crystallized Menjívar’s conceptual approach was the refrigerator photography work.

While looking for food in his refrigerator, he thought about how the issues of food insecurity and hunger impacted so many Americans. In the early 2000s, Menjívar spent two years living in a Bolivian shantytown where 80 percent of the people lived at poverty levels, so food and hunger were not distant issues but part of daily life. He worked with San Antonio social justice advocate Michael Nye in Bolivia, spending time,

Mark Menjívar’s Murmurations. Courtesy of Contemporary at Blue Star. Photo by Ricardo Romo. listening, getting to know people aligned with his own values, and asking Nye how he might explore food.

That project, which became known as “You Are What You Eat,” traveled widely, was published with Trinity University Press, and received national attention— from awards in Santa Fe to segments on Good Morning America, National Geographic, and NPR’s Splendid Table.

Menjívar’s refrigerator images circulated in hundreds of magazines and went viral online years later. But for Menjívar, one of the most important lessons of that success was realizing that

while the visibility mattered, what mattered even more was the integrity of the relationships and the processes in communities. The work taught him something about his own ego and about staying grounded in why he makes art in the first place.

Another significant project featured in Murmuration is focused on bird migration.

Menjívar told us that about five years ago, while walking along the San Antonio River Walk, he heard the song of a painted bunting—a small, brilliantly colored bird. This small bird breeds mainly in the southeastern and south‑central United States (including much

29 de Marzo de 2026 of Texas) and winters farther south into Mexico, Central America, and the Caribbean.

Menjívar recognized the bird song, and it struck him that this tiny bird might have been heard by his family in Puerto Rico or El Salvador just a week earlier.

The migration path of the painted bunting reminded him how close we actually are—far apart on a map, but connected through small creatures that move freely between our hemispheres.

That bird migration thought led to a project called La Misma Canción: The Same Song, exploring the interconnectedness of the Americas. A large fabric mural that covered a whole wall of the exhibit was constructed by young people in Prescott, Washington, in collaboration with artists Amanda Evans and Tia Kramer. The Prescott school serves a mostly migrant farmworker community— about seventy percent of the children are from families who came from Mexico, Central America, and the Caribbean.

Under Menjívar’s directions, the students began by drawing a map linking all the places their families came from.

Together, they researched ten species of migratory birds that travel through those same regions each year. Rather than drawing freehand, the students traced the birds’ outlines using references from the Cornell Lab of Ornithology, which also helped fund the project.

Tracing leveled the playing field. Menjívar explained that this project required scanning hundreds of tracings and printing them on fabric using high-resolution digital printing—600 DPI, which gave the surface incredible clarity.

The final banner, Menjívar

La Prensa Texas SAN ANTONIO proudly explained, welcomes migratory birds and honors the journeys that connect people.

Early in his artistic career, Menjívar joined a collective called Borderline and began working near the U.S.–Mexico border. The group explored how to imagine borders differently—fluid, humane, even reversible. Inspired by Swedish-American artist Claes Oldenburg’s manifesto project “I Am For An Art…,” Menjívar began leading workshops where communities completed phrases like “I am for a border…” or “I am for a city…” The answers were poetic and profound. At the exhibit, Harriett and I read posted index cards that stated: “I am for a city that feels like a warm blanket,” and “I am for a border that rolls up like a rug and can be put away in the closet.” These collective writings become public installations—hundreds of voices shaping new civic and spiritual possibilities.

For this exhibition, Menjívar expanded the concept. He asked visitors to respond, “I am for a future…” Visitors to the Contemporary gallery are asked to add their own sentences to the walls—hoping aloud for a future of love, peace, or unity. Some even stay to talk about what it means to act on those hopes. Menjívar also asks visitors to respond

Mark Menjívar, Migration.

Courtesy of Contemporary at Blue Star.

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Mark Menjívar’s Murmurations. Courtesy of Contemporary at Blue Star.

Photo by Ricardo Romo.

to questions printed on a large picnic table, such as “If you’re caring for the planet, what small actions can you take today?”

Menjívar seems to be achieving his goal to realize art inspired by “social sculpture,” a concept from the artist Joseph Beuys. The concept suggests that art can shape society itself through ideas, words, and participation. Menjívar concluded by telling us: “Every project I do asks how we shape the world and one another.

You’re shaping me right now just by listening and asking questions.”

Mark Menjívar’s Murmurations. Courtesy of Contemporary at Blue Star.

Mark Menjívar, The Luck Archive.

Courtesy of the artist.

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Angelina “Nina” Fernandez Escareño In the days since her passing—after the prayers have been offered, the rosary recited, and the Funeral Mass celebrated at St. Paul Catholic Church—the life of Angelina “Nina” Fernandez Escareño comes into clearer focus.

Not only as a mother and grandmother, but as the steady heart of a family and a quiet pillar of San Antonio’s West Side. Angelina passed away peacefully on March 18, 2026, in the community she loved and called home her entire life.

And while her services have now concluded, what remains is something far greater than ceremony: a legacy of faith, sacrifice, and enduring love that continues to live on through generations. She was born on October 31, 1933, in San Antonio, Texas, the youngest child of Miguel and Cecilia Fernandez. Her roots ran deep in the cultural and spiritual life of the city’s South and West Sides. Her mother, Cecilia Guerra Fernandez, was raised in the Bergs Mill area and carried a lifelong connection to Mission San José—an anchor of faith that would echo through her daughter’s life. Her father, Miguel, born in Laredo and raised on the West Side, attended Lanier High School and lived near Guadalupe and Brazos Streets, close to the Guadalupe Theater. Angelina’s early life was shaped by resilience and responsibility.

When her mother began losing her eyesight, she made a defining decision—leaving school at a young age to care for her. Despite encouragement to continue her education, she chose family. That decision reflected the essence of who she was: selfless, devoted, and grounded in love. In the neighborhoods of the West Side, she met the love of her life, Louis Rondan Escareño, known to many as “Mickey.”

They were married in March of 1952 at Christ the King Catholic Church, beginning a partnership that would span nearly seventy years—ending just one day short of that milestone anniversary.

Together, they raised five children: Louis Rey Escareño, Mary Helen Escareño, Elizabeth Escareño, Michael Frank Escareño, and Patricia Ann Escareño. For a brief time, the family moved to

East Los Angeles in search of opportunity, where Mary Helen was born. Though that chapter was short, it remained part of their shared story. They eventually returned to San Antonio, where their family life took root on West Martin Street and later near Jefferson High School and Inspiration Hills—homes that became the center of a growing and deeply connected family.

At the center of it all was Angelina. Her home became more than a residence—it became the gathering place.

It was where grandchildren were raised, where working parents found support, and where birthdays, holidays, and everyday life unfolded with warmth and constancy.

She created traditions that endured across generations.

Born on Halloween October 31, 1933, she turned her birthday into a celebration for others—dressing up

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and handing out candy to neighborhood children, often with the help of her daughter Helen. Thanksgiving became a hallmark of her home, with meals prepared for dozens of family members. Christmas was marked by her determination to ensure that every child and grandchild received something, no matter how modest, so that each would feel remembered and loved. Her family grew to include 13 grandchildren and 17 great-grandchildren.

Among them, she cherished her grandson Nicholas Maldonado and her great-grandchild Rafael Michael, each representing a continuation of the family she nurtured so deeply. Her faith was a quiet but constant presence in her life. At St. Paul Catholic Church, she made a personal commitment to attend Mass regularly, often on her own. She ensured that each of her children received the sacraments and were raised in the Catholic faith. Hers was a faith not expressed in words

whom spent significant parts of their lives in her home. When her husband became gravely ill, she insisted he remain at home, surrounded by family.

Even when hospice care was introduced, she brought him back home so that he could be in a place of love and familiarity.

This was not an isolated act.

It was the pattern of her life.

In her final months, that same care was returned to her. She remained at home, surrounded by her children—especially her daughters Helen, Elizabeth, and Patricia—and her niece Stacee, a nurse who helped guide her care. The family maintained a constant presence.

She was never alone. In January, she attended her greatgrandson Isaiah Maldonado’s wedding—a moment of great joy and one of the family’s final shared celebrations with her.

In her final days, she received what she had given throughout her life: love, dignity, and the comfort of family close at hand. Angelina “Nina” Fernandez Escareño lived a life grounded in faith, family, and love. She was the foundation of her family, a steady and loving presence who always put others first. Her family takes comfort in knowing that she is now reunited with her beloved husband, her parents, and those who went before her.

And here, on the West Side of San Antonio, her legacy endures—in the lives of her children, her grandchildren, her great-grandchildren, and in the traditions she created that will continue for generations to come. She remains what she has always been:a steady, faithful, and enduring presence.

alone, but in action—through care, sacrifice, and devotion to others. In the 1970s, after raising her children, Angelina went to work at Bill Miller BarB-Q at Zarzamora and Martin.

She did so to help support her family during times when work was not always steady.

She took pride in working and contributing, just as she had in her younger years as a carhop— always with the same purpose: to care for those she loved. Later in life, she found joy in traveling with family, especially to Las Vegas, a place affectionately known within the family as her “Disneyland.” She delighted in the simple pleasures—time together, laughter, and being surrounded by those she loved most. But more than anything, Angelina Escareño was defined by her care for others. She cared for her mother until her passing. She cared for her mother-in-law. She cared for her husband through his long illness with dementia. She cared for her grandchildren, many of

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otra forma de pensar , de sentir , de vivir, apoyándose en el otro ser La Caravana del Sin Sentido humano y queriendo al otro quizás más que así. Hoy estamos muy artículo Opinión Jesús Antonio lejos de esto. Sin embargo, llamó teatro callejero porque finalmente es así , no es algo que vaya a producir un cambio profundo en las Fernández Olmedo Uno puede influir en otros pero nadie puede obligar a cambiar a nadie. Esto es así de claro. Se puede uno acercar a un núcleo de población más o menos grande o pequeño , dada siempre las circunstancias que pueden circunscribirse a la persona que genera la radiación pero el que decide finalmente es el individuo. Uno articula la música ,la letra, la canción, los espacios , un escenario , esto es influencia finalmente en un público reducido , aunque seas premio Nobel , y este público decido por él en su propia intimidad.

Ahora se desarrolla un teatro callejero con estatuas, esto en la gente no influye en nada en sus propias vidas, para que articulen

mentes humanas. Cada vez hay más representaciones teatrales externas sobre un fenómeno religioso nada religioso porque cada vez las generaciones están más vacías. Por supuesto esta procesión no es para nada la esencia y el estudio disciplinado del mensaje.

Unos y otros se dejan llevar por algo que pareciera que les da cierto protagonismo , justificación y recibir algo más. Se sigue y se continua viviendo una comedia. ¿ Cuanto más se llegará la humanidad a resistir al cambio ? ¿ Cual es el real sentido de la vida y porque uno vive ? Ese es asunto a dilucidar.

‘Desiguales’ viaja a Sevilla para una cobertura especial de Semana Santa desde el corazón de una de las tradiciones religiosas más emblemáticas del mundo MIAMI – 25 de marzo de 2026 – TelevisaUnivision anuncia que “Desiguales” realizará una edición especial desde Sevilla, España, con motivo de la Semana Santa, una de las celebraciones religiosas y culturales más emblemáticas del mundo.

Como parte de esta producción especial, “Desiguales” se trasladará del lunes 30 de marzo al viernes 3 de abril a Sevilla para ofrecer transmisiones en vivo y shows diarios desde locaciones icónicas de la ciudad, conectando a la audiencia con la tradición, la fe y el impacto cultural de esta festividad.

Adamari López, Amara La Negra, Karina Banda, Migbelis Castellanos y María Antonieta Collins como invitada especial presentarán segmentos que incorporarán contenido local en exteriores resaltando la riqueza cultural de la ciudad y el significado de la Semana Santa desde una perspectiva contemporánea e internacional, además de piezas que explorarán tradiciones en el ámbito de la gastronomía, la moda flamenca y las expresiones artísticas de la región.

Entre las principales locaciones destacan espacios emblemáticos como el Real Alcázar de Sevilla, la Catedral de Sevilla, eje central de las celebraciones religiosas, y otras locaciones estratégicas que aportarán valor visual y cultural a la producción.

“Desiguales” brindará a la audiencia una experiencia inmersiva y única desde el corazón de una de las tradiciones más significativas del mundo hispano.

Además, Univision transmitirá la Misa de Domingo de Ramos el 29 de marzo a las 6 a.m. Este / 5 a.m. Centro con Maria Antonieta Collins y Adamari Lopez y la Misa de Domingo de Resurrección también desde Sevilla el domingo 5 de abril a las 6 am. Este/ 5 a.m. Centro con Maria Antonieta Collins y Karina Banda.

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Despos Vs Yankees Clásico Másters Piratas Vs White Sox Clásico Abierta Por Sendero Deportivo La noble afición en Liga Potranco que preside Simón Sánchez estará disfrutando de los clásicos en categoría Másters 50+ y Abierta, donde el artista Eloy Rocha, propietario del complejo deportivo y social Potranco Baseball League, les estará dando la bienvenida.

Yankees y Desperados en campo 2 a las 2pm inician acciones. Y en el campo 1 el campeón Piratas a las 12:30pm irá por su tercer triunfo de nueva temporada contra el trabuco de White Sox. Resultados en Másters

de acuerdo al compilador oficial José Sánchez, Despos de Elías Contreras derrotó a Astros 10-2 con victoria para el debutante lanzador Kirk Sipila, que tuvo relevo de Carlos Cerda “La Chiva”, Baldo Montelongo campeón pitcher cargó con la derrota y tuvo gran relevo de José Espinoza.

Los Rojos del timonel Jimmy Martínez y el coach Catarino Obregón derrotaron 6-5 a Rangers.

Alfredo Obregón superó en la lomita a Eduardo Sánchez y al relevista Luis Alfonso Velázquez “Chorejas”, Benito

Martínez y el coach Ruperto Ortega, agradecieron apoyo de sus jugadores y a la vez desearon todo lo mejor a su jugador estelar Johnny López, quien será sometido a operación atlética.

Resultados en Abierta: Piratas 12-2 ante el debutante Potosinos, con victoria para Miguel Rondon, quien tuvo relevo de José López “El Látigo”, Saúl Puente, manager y jugador cargó con la derrota.

Diablos de Mike Tabhan, fueron doblegados 9-5 por Tuzos de “La Yerba” Roberto Villarreal, quien tiene de coaches a Carlos Iglesias y Efraín Cruz Franco.

La victoria fue para Wilban Molinaro con relevo de Orlando Barroso.

Potros del manager y jugador Víctor Mercedes “El Caminante”, con pitcheo de Juan Rosa, derrotaron 12-4 a Despos. Mercedes destacó pegando 3-2 con 4 carreras impulsadas.

Por Despos perdió Levi Harthey con relevo de Chalito Carraman.

Max Vega de Piratas dijo se está planeando el torneo Región Carbonífera

a jugarse en Septiembre 2026 con equipos de Piratas, Tuzos, Sabinas y otro equipo.

En las fotos aparecen: Catarino Obregón de Los Rojos, Luis Velázquez

manager de Yankees y su nuevo jugador Mike Garza, bastante conocido en el mejor béisbol del sur de Texas. Elías Contreras, manager y jugador de los Despos. (Fotos de Franco).

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