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What does it mean to come together as a group of migrant women, to paint the face of a murdered woman, on the wall of a building in a town that was only temporarily her home? And, who does it have meaning for? In this paper, I interrogate this act as a participant in Las RestaurAmoras, the feminist collective responsible for painting murals of victims of feminicide in Quintana Roo, Mexico, in 2021. I argue that the physical and emotional conditions involved in painting the murals caused members of Las RestaurAmoras to forge a deeper connection with each other and the deceased women they painted. This emphasised sameness and belonging between migrant women, both living and deceased. As finished artefacts, I suggest that, as memorialisation, the murals challenge harmful discourse and practice that invisibilises migrant women's lives and the violence they experience. The murals are a reminder and a demand that femicidal violence must be dealt with urgently. I argue that connection among (migrant) women and emphasising the importance of the lives of (migrant) victims of feminicide are key elements in protection for women in places with high rates of gender-based violence and impunity, in this case, Quintana Roo.
Tallulah Lines (Mon,) studied this question.