In the next section of the mural, Muniz offered another, albeit quite different example, of domesticana than represented by Hernandez’s re-located altar. Muniz morphed the labor of sewing for family members into the hunched over sweatshop worker, replacing the trope of the “faithless” Malintzin who abandoned her people with the seamstress laboring to support her family.
While the labor contributions of Chicanos provided a common theme for muralists as far back as Los Tres Grandes, Muniz shifted the focus to work done by Chicanas. As Latorre remarked in her discussion of Chicana murals,
“much of the patriarchal thinking that saturated the Chicano movement assumed that a woman’s place was private and domestic spaces, in spite of the fact that many working-class Chicanas, whether feminist-identified or not, have long had no choice but to venture into public arenas.” (147-148)
The seamstress already labored in public, but behind a veil of invisibility. The garment industry purposefully obscured its existence in order to hide the often-illegal work conditions and employment practices. Muniz explained in the video interview that she wanted to highlight “the exploitation that is involved in the working conditions [of factories] and the type of pay that they give.” The installation included, at least according to one description, a “piecework” pay scale, one of the exploitative, and illegal practices seamstresses were subjected to.
In addition to making the harsh working conditions of seamstresses more visible, Muniz also reversed the gendered dynamics of visibility at work in Chicano murals. As Angie Chabram-Dernersesian noted about a work with similar content, by making the seamstress the central figure of the image, the viewer is forced to grant “recognition for her work and to look at the family-supporting seamstress.” By locating the figure of the sweatshop worker at the center of her installation, Muniz replaced the more typical male heroes of Chicano murals, like Cesar Chavez or Che Guevara, with a normally invisible woman.
The dynamics of invisibility connected Muniz’s section of the installation to the final portion by Josefina Quesada.
 dinnerstein 179 Chicana cultural studies reader By Angie Chabram-Dernersesian