By analysing racist moments, this article engages with debates about the existence of racism in Mexico and how whiteness, as an expression of such racism, operates. It draws on empirical research that explores Mexican women's understandings of mestizaje (mixed-race discourses) and experiences of racism. It assesses how racism is lived, its distributed intensity, within the specific racist logics that organize everyday social life. I build upon arguments that Latin American racist logics emerge from the lived experience of mestizaje and its historical development as a political ideology and a complex configuration of national identity. Mestizaje enables whiteness to be experienced as both normalized and ambiguous, not consistently attached to the (potentially) whiter body, but as a site of legitimacy and privilege.

This article analyses the conflicting understandings surrounding the recognition of anti-black racism in Mexico, drawing from an analysis of the 2005 controversy around Memín Pinguín. We ask what is at stake when opposition arises to claims of racism, how racial disavowal is possible, and how is it that the racial project of mestizaje (racial and cultural mixture) expresses a form of Mexican post-racial ideology. We argue that the ideology of mestizaje is key for unpacking the tensions between the recognition and disavowal of racism. Mestizaje solidifies into a form of nationalist denial in moments when racism is openly contested or brought up. It becomes a concrete strategy of power that is mobilized to simplify or divert attention in particular moments, such as with the Memín Pinguín controversy, when the contradictions within the social dynamic are revealed and questioned. Here is where Mexico's "raceless" ideology of mestizaje overlaps with current post-racial politics. We explore state, elite and popular reactions to the debate to discuss how such public displays reflect an invested denial of race and racism while, at the same time, the racial status quo of mestizaje is reinforced. This, we argue, is the essence of post-racial politics in Mexico.

With a focus on appearance and racialised perceptions of skin colour, this paper discusses the differences between being and feeling acceptable, pretty or ugly and the possibility of such displacement (from being to feeling or vice versa), as a way to understand what beauty does in people's lives. The paper explores the fragility of beauty in relation to the visibility of the body in specific racialised contexts. It investigates the claim that beauty can be considered a feeling that emphasises processes (what beauty does) rather than contents (what beauty is). Drawing from life stories with Mexican women, I examine their concerns about visibility, temporality and appearance as expressions of racist practices and ideas, within a context where the racial project of mestizaje (racial mixture) is in operation. Beauty matters as it makes evident the pervasiveness of racism in the everyday. The lived experience of beauty, in its displacement and fragility, as a feeling and as resource, can also point to some of the strategies to resist, cope and get on.

In this article I argue the need for a reflexive use of photographic images in research, mainly in the publication and dissemination phase and specifically when the topic investigated relates to issues of visibility, in this case racism and understandings of beauty. This analysis draws on my work on contemporary practices of racism in Mexico, where personal photographs were used as research tools in life-story interviews, creating a sense of shared intimacy. Inspired by Barthes' refusal in Camera Lucida (2000) to reproduce a photograph of his mother, in this article I focus on the dynamics between seeing and looking and suggest that 'looking emotionally' at both participants' accounts and their photographic images, is a way to address the complexities of the gaze and discuss the specificity of different 'ways of looking'. The notion of 'looking emotionally' refers to an engagement, of researchers and audiences of research, with participants' lived emotional experiences that explicitly confronts the historical and social legacies of the visible. Here, photographs are understood not only as illustrative platforms from where experiences are organized, but also as 'traps' that both inform and ensnare (Gell, 1999). As such, the argument aims to problematize the intimate relationship between gaze and photographic image in a context where racism is constrained to the visible, both in its reproduction and also in its pressing ongoing critique.

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