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              <text>But Trinity back then in the 1970s was not a hotbed of Latin American interest or even Hispanic interest. It was not even international. It wasn't a very international campus then. It became so because a number of us on the faculty, I think, put pressure. And we didn't have all the pressure in the world to exert. But we kept pressing for interdisciplinary studies, international studies. So I was involved with a handful of others in the creation of what became the International Studies major. This was in the early 1980s. It's changed its names and it's gone through some reorganizations in its senior department still.</text>
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                <text>Dr. Guy Poitras, professor emeritus of political science and director of the Border Research Institute discusses the beginning of the international studies major at Trinity University.</text>
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              <text>Yeah, it was in the late 1970s. Seventy-eight, seventy-seven, seventy-eight. At that time, we had what they called division councils. That is, a dean, there’d be a dean and several departments would be grouped into this division. There were three or four divisions on campus. So, the vision—I think it was called Social and Behavioral Sciences. It started there. Now, as I might have mentioned to you in my email, I had nothing to do with creating it. But it came out of the division council. I cannot remember for the life of me who in that division pushed this. But we got the support of the dean. And so, we got—we set it up. I didn't even invent the name Border Research Institute. But at some point, in the division council, the person who advocated it didn't show any interest in running it. He didn't have any administrative interest in it. So, you know, I was fairly young, foolish. I said, “Well, I'll do it. I'll try.” So, I became the director of the Border Research Institute. No significant money from administration. This was, again, one of those things that you do it because you're interested, not because you're going to get a big, fat, cushy operation going on. It wasn't like that.</text>
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                <text>Article featured in the November 12, 1971 issue of the Trinity University newspaper, the Trinitonian advertising the Trinity Association for Chicano Students (TACS) cultural exhibition on November 16 in the Ruth Taylor Concert. The article mentions that there will be an art exhibit by Los Pintores de Aztlan.</text>
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                <text>Article featured in the October 28, 1971 issue of the Trinity University newspaper, the Trinitonian advertising an exhibition of work by the Tintores [Pintores] de Aztlan occuring from Nov 5-30. The students showing artwork incluse Santos Martinez, Phillip [Felipe] Reyes, Raul Solis, and Thelma Ortiz.</text>
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                <text>Definition and etymology of the term "Con Safo" and its usage by Chicano artists. Appears in Con Safo pamphlet listing the mission of the group, members, and honorary members.</text>
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                <text>Illustrated Con Safo logo created by Jesse Almazán. Appears in Con Safo pamphlet listing the mission of the group, members, and honorary members.</text>
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                <text>Review of the Farmworkers' Exhibition that took place from November 1 to November 14, 1972 at Laurie Auditroium, Trinity University, San Antonio, Texas. Con Safo members participated in this exhibit. The review is written by Trinity student Don Evans who criticizes the joint use of art and politics and tells viewers of the show not to "...feel too bad if after seeing the Con Safo Group Show you didn't become socially aware of the Chicanpo's plight. You won't unless you are Chicano."</text>
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                <text>Review of the Farmworkers' Exhibition that took place from November 1 to November 14, 1972 at Laurie Auditroium, Trinity University, San Antonio, Texas. Con Safo members participated in this exhibit. In this review author Jim Barrett provides an overview of the show and a brief history of Con Safo. Barrett notes that while the show provides a valuable cultural experience it will likely be deemed unimportant by students concerned with other college activities and not concerned with "...a group down the hill in most circles."</text>
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                <text>Mexic Arte Museum</text>
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                <text>Object number: 1996.1.16</text>
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                <text>Brown Pedestrian in Metropolis </text>
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                <text>Photo of painting Brown Pedestrian in Metropolis by Norman Avila. Avila exhibited this work at his senior exhibition at Trinity, titled Art from the Pulp.</text>
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