This dissertation explores the vibrant feminist art scene of 1970s and 80s Mexico City, centering upon the artistic practice of Magali Lara (b. Mexico City, 1956). I examine feminist practices during this period in conversation with broader understandings of what has constituted “political art” in twentieth-century Mexico, asking: What does a theory of political art that accounts for art’s affective power look like? And, how might the affective aspects of art allow for a type of political communication that reaches across cultural, experiential, and ideological divides? Lara’s images illustrate domestic interiors—kitchens, bathrooms, bedrooms—that are populated with strangely animate household objects—coffee pots, ironing boards, pairs of scissors—and that are punctuated with ambiguous fragments of text. Her artworks are neither didactic in their political commentary (as, for example, the social realism of the Mexican muralists often was), nor do they toe the line between art and protest (as the ephemeral, urban interventions of los grupos, the art collectives that dominated the avant-garde art scene of 1970s and 80s Mexico City, often did). Nevertheless, they do political work. Organized around a set of formal tactics that I have identified in Lara’s artwork including seriality, ambiguous juxtapositions of text and image, the evacuation of specific bodies, and the blurring between still life and portraiture, this project proposes that those tactics engender political communication. Since the beginning of her practice in the late 1970s, Lara’s artwork has delved into issues of women’s experience in Mexico, and she has been and remains deeply involved in the Mexican feminist art movement. Her images have been included in expressly feminist art exhibitions, used to illustrate militant feminist publications, and, on occasion, provoked vehement reactions in response to their ideological content. Yet the scholarly work surrounding her practice largely leaves the role of politics in her artwork untouched. I approach Lara’s work with the same themes in mind as writers before me—self-representation and subjectivity; interiority and eroticism; the everyday and the ordinary—but from a position that takes those themes as a site of politics. In so doing, this dissertation not only asserts that Magali Lara’s artwork is political, but invites reanalysis of the political impact of other artworks, including the work of women artists active in Mexico in the earlier twentieth century.