[1] The name of the group refers to the Nahuatl tradition of tlacuilos: men and women who, under the protection of the Goddess Xochiquetzal, “focused on the expression and interpretation of the universe of beliefs that ancient peoples held about time, space, their history and knowledge,”[2] that were represented in murals and codices.

But it was not until 1983, that the first art collectives with openly feminist political positions were formed: Tlacuilas y Retrateras in May, Polvo de Gallina Negra in June and Bio-Arte in November.

They also invited José Luis Cuevas and Raquel Tibol among other celebrities as godfathers and godmothers, read poetry by writers such as Magali Tercero and Patricia Vega, and the closing ceremony was organized by the Polvo de Gallina Negra collective with their performance titled Tres recetas.

In “La fiesta de XV años” they used a visual language derived from Conceptual Art, a transgressive act at the time, especially when addressing issues that were considered irrelevant: the ritual of the quinceañera party, sexuality, the questioning of that which is conceived of as feminine and gender roles.

Their separation is attributed to various reasons, including: the difficulty of accepting themselves as feminist artists in a hostile environment, the adverse criticism of their work and the end of the workshop taught by Mónica Mayer.