A found printed toile fabric serves as the background for Priscilla Dobler-Dzul’s embroidery La tierra no es de quien la trabaja, which visually superimposes the expropriation of labor and resources in two distinct yet entangled geographic and cultural contexts: US-American slavery and the exploitation of indigenous labor, customs, and plant-life in the Yucatán. Her engagement derives from her own family’s history with the henequen fiber, which is processed as a textile and used in a range of domestic, commercial, agricultural, and industrial products. Atop a scene depicting slave owners at leisure in Savannah, Dobler-Dzul embroiders a map of the Yucatán, along with Mayan figures, migrant workers, and native henequen and hierba plants to gesture towards the ongoing systemic structures that seek to erase indigenous cultures, histories, bodies and lands.