Abstract

This article delves into the intricacies of casta paintings, particularly focusing on the anonymous eighteenth-century work, Las Castas, produced in Mexico. Las Castas serves as a testimony to the complexities of colonial racialized subjectivity. More precisely, Las Castas presents us with a depiction of mestizaje as a rigid system of social stratification, with black individuals occupying a predetermined and inescapable role. The article introduces the irreversibility thesis, challenging prevailing notions of the race mixing process (mestizaje) in colonial Latin America, and asserting that being of black descent, contrary to being of indigenous and Spaniard descent (mestizo), was considered an irreversible stain determining one’s social position within the mestizaje process. This article explores the genre of casta paintings as a colonial artifact and highlights the complexities inherent in colonial subjectivity through a taxonomic visual epistemology lens.