"[1] Corral's own work often focuses on the experiences of individuals who have been ignored in mainstream histories, like the victims of femicides in Ciudad Juárez and braceros who were mistreated on U.S. soil during the mid-twentieth century.
Today, Corral's artwork often takes up themes related to heath, such as the inhumane use of cyanide-based insecticides on guest workers entering the country to participate in the Bracero program.
[1] Corral was a 2017 fellow at Black Cube, a Nomadic Art Museum,[7] during which time she produced and installed Unearthed: Desenterrado (on view March 9–June 9, 2018).
In Voces de las Perdidas (Voices of the lost) (2010), Corral produced a site-specific installation in which she hung hundreds of ceramic body bag tags that she created from soil collected at the crime site of Campo Algodonero in Cd.
Though the bodies of many women were abandoned at this site, the remains of eight women were identified (Esmeralda Herrera Monreal, Laura Berenice Ramos Monárrez, Claudia Ivette González, María de los Ángeles Acosta Ramírez, Mayra Juliana Reyes Solís, Merlín Elizabeth Rodríguez Sáenz, and María Rocina Galicia) and named as a part of the landmark case presented to the Inter-American Court of Human Rights.
In her 2011 performance piece Quebrar el Silencio (Break the Silence), Corral smashed four hundred and fifty ceramic body bag tags, symbolizing the impossibility of fully reclaiming the voices of the victims of femicide.
[13] Corral pursued notions of silence surrounding the murders of women in several other bodies of work produced between 2010 and 2017, including Campo Algodón, Ciudad Juarez, 21 de Febrero del 2007 (2011), Per Legem Terrae (2014), Impunidad, Circulo Vicioso (2015) Sous Rature, 'Under Erasure' (2016), and The Trace of a Living Document (2017).
Corral's monumental flag Unearthed: Desenterrado was installed along the U.S./Mexico border at the Rio Vista Farm in Socorro, Texas, which is the site of a former Bracero program processing center.
"[14] Corral collaborated with a number of scholars to create the piece, including historians David Dorado Romo, Yolanda Chávez Leyva, and Sehila Mota Casper.
According to Stell, the unravelling of the flag was a "metaphor for both the fragility of the human body and the transience of memory, referencing the harsh treatment of braceros at Rio Vista Farm and their forgotten history.
[11] Part of the Massachusetts Museum of Contemporary Art exhibition Suffering from Realness, Requiem consists of a monumental bronze representation of a dying golden eagle.
Each of the collected dates was then laboriously cut and carved directly into the sheetrock wall by Corral, literally scarring the museum with American history, creating both an urn and a time capsule.
Instead, the exhibition was intended to focus on "the role of the body as the locus of perception" and emphasized "the importance of indigenous, intuitive, and somatic knowledge as a primary source for understanding our world.
About Corral's work, the site reveals that her work entitled A Pamplisest (2022) on view (a series of six panels, ink, lithographic crayon, pen, and NARA documents transferred onto gesso board panels[21]), reveals the "political targeting of Mexican immigrants as contagious carriers for disease and the subsequent creation of an atmosphere of racialized paranoia in California, Texas, and the Southwest—a sentiment that public officials capitalized on to implement harsher border-control policies.