Looking to two contemporary Latina artists, Laura Aguilar and Xandra Ibarra (pictured above), I have been exploring what I call abject futurities, types of queer futures (Muñoz) that deal even more directly with a specifically abject societal positioning, and actively reject or reimagine the very idea of subjectivity. In these case studies, the abjection of the artists is three-fold: they are feminine, queer, and Brown. Their response to this abjection is, rather than continuing to strive for subjecthood, or that which has been deemed socially “correct” by the hegemony, these women use their art to posit an alternative: the embrace of abjection. Specifically in her work with cockroaches and through her Spic Ecdysis photo series (from 2015-- pictured above is "Ecdysis Tryptch 2), Ibarra engages directly with her own abjection through her visual and performance art practices, and in doing so creates an abject futurity that inspires her audiences to explore and perhaps embrace their own abjection as well.