She is best known for her archive, Archivo Ana Victoria Jiménez, which contains photographs, posters, and flyers that demonstrated or related to women activism in Mexico.
After participating and documenting in the movement for many years, Jiménez decided to begin her work as an independent editor, co-author, and desktop publisher.
Since then, Ana Victoria Jiménez has formed part of important exhibitions in the United States and has continued her work as an editor and author in Mexico.
[1] Also, during her participation in a communist party named, Central Campesina Independiente and Frente Electoral del Pueblo (Central Peasant Independent and Electoral Front of the People), Jiménez was arrested and detained during an operation by Mexico City police, which was organized with the intent of stopping radical activity by communist.
[2] Furthermore, due to her position as the secretary of the Comité Central, Jiménez was able to travel to the Soviet Union, and other countries, that formed part of the party.
[5] Still considered a communist activist, Jiménez moved on to become member and founder of, Union Nacional de Mujeres Mexicanas (UNMM).
[5] After becoming part of Mujeres en Acción Solidaria (MAS), Jiménez's activism began to shift focus onto feminism.
Her questioning, led her to produce work that mirrored personal experiences of women in the movement and creating exhibitions, which implemented the idea that one should challenge the patriarchy found in art.
[7] After hearing of the incident, artist, historians, and activists such as, Patricia Torres, Elizabeth Valenzuela, Karen Cordero, and Nicola Coleby decided to organize and establish Tlacuilas y Retrateras.
[8] During the time that Ana Victoria Jiménez was dedicated to photography, she sold some of her work and was even asked to create images for store catalogues.
[5] Another film that Jiménez created with Cine Mujer was, Rompiendo Silencio (Breaking the Silence), which was released in 1979 and centered on raped women.
[7] This photographic essay, narrates a story in which a woman climbs up to a tree to speak of her youth, while also portraying wishes of getting married and fulfilling her dreams.
[1] During her time of working with collaborative groups, Jiménez built a dark room in her home, where she learned to develop photolithographs to produce negatives for print productions.
[5] Jiménez documented and participated in this exhibition, which consisted of thirty-nine ceramic dinner sculpture plates on a table, tablecloths with metal, scraps of leather, and pieces of wood.
Aside from recognizing Judy Chicago, the exhibition was also dedicated to many outstanding women like: Elvira Trueba, Adelina Zendejas, Amalia Castillo Ledón and Concha Michel.
[8] With Tlacuilas y Retrateras, Jiménez photographed and participated in the organized performance, "La Fiesta de Quinceaños", for an audience of more than two-thousand people.
[3] The performance was organized with the goal to analyze the event of quinceñeras, a "traditional celebration that marks the sexual rite of passage from girlhood to womanhood".
[3] Other performances by Maris Bustamante, Mónica Mayer, Victor Lerma and Ruben Valencia formed part of "La Fiesta de Quinceaños".
The group's objection was to bring the set of photos and documents back to the public view; their efforts to make this happen became known as the Memora Project.
[5] Gabriela Aceves Sepuvelda claims that Monica Mayer, whom was part of the Memora Project, was an important figure that helped transform Jiménez's collections into an archive.
[10] The third theme of the archive,"Revolución y Rebelión, Estrategias Artísticas y Culturales" (Revolution and Rebellion, Artistic and Cultural Strategies), focuses on specific techniques that the feminist movement utilized for dissemination and promotion.
[8] After her participation in the feminist movement in Mexico, Jiménez decided to focus on independent writing and editing publications that touched on women's issues.