Mirta Toledo (born 1952) is an Argentine artist (painter, sculptor, print maker and writer), that promotes diversity through her artwork.

Toledo cites her father as the driving force in her art, who "instilled in her qualities of strength, ambition and values, normally reserved for men in her society.

In 1985 she completed a residency with master sculptor Antonio Pujía in the National College of Fine Arts Ernesto de la Cárcova.

[8] In the late 1970s she focused on sculpture, winning her first awards in that medium from the SAAP (Argentine Society of Visual Artists),[9] the Ministry of Culture of Argentina, and the Dirección General de Educación Artística (1979).

Diversity in Religion (portraying gods and goddess from prehispanic Latin America, Caribbean, Africa and European saints).

Since then, that theme has been the topic of Toledo's short stories and conferences, and it represents the intellectual level of her paintings during the past 14 years.

[3] Her art was on permanent display at Mi Casa Gallery, located in Austin's famous South Congress Cultural District.

Reacting to the California Proposition 187, in 1994 Toledo created a mixed media triptych of big dimensions: "The Key Word is LOVE " (1994).

The three canvasses presented glued and hand sewn collages of her drawings about Aztec, Mayan and African significant art, and the portrait of family members.

There is orange and there is blue and the ugly compromises we must make, the shades of meaning where people equivocate and bury the past, these things are not there.

The moldy blending of hue is traded for sharp contrast, clarity, the exact point where night and day play shell games is now captured, again, in a reflection of what has collected in the brushes of Mirta Toledo.

The red acrylic stroke left by the glued brush symbolizes the blood leaving and covering an Argentine ID ... and that human being disappears completely ... not even the person's name exists anymore.

There is also a color blue sky section, where a photograph of a black wall shows in white letters a claim: Justice and Memory, along with the list of victims of the attack.

Toledo´s most complicated art adheres fabric, paper, stamps, news prints and the tools of artistic trade to multilevel paintings that contain references to social or political conditions.

Many of the mixed media pieces were looking back from Argentina to Texas, with a developed visual vocabulary meriting a full "Retrospectiva".

"[37] Toledo has participated with her Mail Art in Australia, Brazil, Belgium, Bangladesh, Canada, Colombia, Chile, Finland, Hawaii, Indonesia, Italy, Japan, Malaysia, Portugal, Spain, Ukraine and the United States.

With the body of artwork that she called ...with the letter M, she conveys her message of the 90's: Art is a magical tool that I use ... We, humans, do not see what is beyond the simple things, not with a pure look.

[38] The same year, during the months of September and October, the LatinArt Gallery of Philadelphia (now closed) inaugurated its art rooms with a solo exhibition of Mirta Toledo, displaying a retrospective of her work, which includes paintings, sculptures and mixed media.

[45] True to her celebration of diversity, Toledo painted a series of portraits of Argentine of African descendants[46] who, even though contributed in many fields to the making of the nation, were invisible by the Argentina history.

Dr. Carlos Castellano, (President of the HCSI) expressed his view: To tell you the truth, is a beautiful project that shows the African roots in Argentina, part of a story that unfortunately has been lost for many reasons.

[51] In this book Toledo addresses issues of continued relevance, related to the search for identity and lost blood line of ancestors.

The characters are experiencing the anguish and agony of a painful transplant, and they hear the urgent call of the ancestral voice, the impulse to shake the dust of the generations that hides their true Hispanic / Latin American root.

The arrival of the conqueror, powers, rights, relations with the inhabitants of the New World, mutual respect, ignorance, neglect, disaster, are some of the peaks on these stories.

Spanish blood mixed with Guarani Indians and Blacks, the "new mud" in which the protagonist of the epilogue (written, unlike the all novel, in first person) discover "the elementary seed.

Her ability to lead us to the unexpected end, speaks volumes in favor of her good fabulating and exquisite connoisseur of individual psychologies, like Ana Lía Gabelli, whose inquiries and particularly her special fondness will result in an area of difficult outlet.

[56] Eleven of her short stories (previously published in literary magazines of Canada, United States, Brazil and Argentina) came together in the book Dulce de Leche (1996).

[57] The introit of Dulce de Leche is a clear warning to the reader, in which a painful awareness slips to cultural crossroads: "The letters that fail to arrive, is because they do not write, because for my family and friends, I'm just an absence, a memory that does not belong to Buenos Aires anymore ..." The pain of being uprooted in a preliminary catharsis, the one of Mirta Toledo, Argentine narrator, that is "in between" , between her current life in Texas and her own memories.

This call was developed in conjunction by the Library of Great Nations run by Xabier Susperregi Gutiérrez[64] and Women Poets International.