In the introduction section titled "Mayan Women as History," the artwork is used as a way to discuss a contemporary Central American exploited agricultural economy and how this affects working-class labour opportunities in third world countries.
Author and researcher Staikidis in regards to Cumez's work state, "the paintings become visual metaphorical windows into Mayan Kaqchikel female cultural worlds."
Cumez has been cited in numerous scholarly articles which discuss the engendering of Latin American art history and has helped improve the visibility of the indigenous narratives at the undercurrent of many Central-American countries.
For example, working with Dr Kryssi Staikidis of Northern Illinois University, Cumez is aiding in research of indigenous mentorship-models in aims of restructuring the way in which art is taught today.
[2] Additionally, through research, Cumez has, to an extent, both aided in the broadening of European-centered art history as well as stressed the importance of indigenous Mayan art-history.
[7] Cumez is also profiled in a scholarly book that discusses implementing art and social justice education into the classroom and has a chapter devoted to her own work, which relates her subject matter to the realities of immigration.