Photograph of a group of children at Nuestras Tradiciones, or Our Traditions, an exhibition held at the Mexic-Arte Museum in Austin, Texas. The exhibition ran from December 8th, 2000 to December 30th, 2000. Children sit on the floor of the gallery space, facing away from the camera. An adult woman wearing a dark suit and white blouse faces the camera. She stands to the right of a painting by Santa Barraza. The painting features a human hand rising up from the leaves of a plant. At the center of the hand is an anatomically correct heart. A rabbit's head rests at the plant's base. A pink rose sits to the left of the plant. The painting includes yellow, red, green, and pink colors.

Photograph of individuals at The Inward Gaze: Body, Identity, Place at the Mexic-Arte Museum in Austin, Texas. A woman, who is wearing a pink floral dress and white short sleeve jacket, is presented a piece of paper by a man who is wearing a suit. The man faces away from the camera. People stand in the background.

Photograph of a band at the opening reception for The Inward Gaze: Body, Identity, Place at the Mexic-Arte Museum in Austin, Texas. Three male guitarists and one male drummer perform. The second performer from the left sings into a microphone, while the other performers look down at their instruments. They are informally dressed. A painting on the wall behind them features two individuals fighting.

Photograph of three men holding a matted color print of a blue horse jumping over several large rocks that are jutting out of the ocean. The men are standing together in front of a blue wall which has another large painting on it on the right-hand side of the image. The men who, are all wearing suits, are all smiling and facing the camera.

Photograph of a docent speaking to a group of children in the Luz Jiménez exhibit, Symbol of a Millennial People, at the Mexic-Arte Museum in Austin, Texas. The docent wears a pale yellow blouse and white cardigan. In her left arm she holds a pad of paper. Her right hand gestures to the group. The group faces away from the camera. A large clay vessel sits on a platform to the right. A title wall behind the docent reads "Luz Jiménez-Symbol of a Millennial People, Model and Muse of the Mexican School of Painting" and "Presented by AT&T." A painting on the wall features a kneeling woman.

Photograph of a docent speaking to a group of four children in the Luz Jiménez exhibit, Symbol of a Millennial People, at the Mexic-Arte Museum in Austin, Texas. The docent, who sits in a folding chair, wears a purple dress and multicolored scarf. She holds up five fingers on her right hand and two on her left; the children mirror her. The children sit on the floor. One girl and two boys sit to the left, while a last girl sits off to the right. Two paintings of young women are featured on the wall behind the docent.

Photograph of two women and three men standing in front of a white wall that has a large painting of a bull on it. There is writing on the wall above the painting that reads, "Ikerkinesis". The five people are all smiling and facing the camera. The man on the far right-hand side of the photograph is holding a piece of paper.

Photograph of a woman and a man holding a framed abstract silkscreen print. Both of them are looking at a man in a tan suit, who is standing to their left and looking at the picture. There is a podium and a woman talking into a microphone on his left. The group of four is standing in front of a blue wall that has a large, colorful painting on it on the right-hand side of the image.

Photograph of the Luz Jiménez exhibit, Symbol of a Millennial People, at the Mexic-Arte Museum in Austin, Texas. A display case in the foreground features a book and several small stone statues. A brown half wall on the right features drawings of individuals. A small display case stands against the farthest wall. Small paintings are hung on the wall itself.

Photograph of gallery space at The Inward Gaze: Body, Identity, Place at the Mexic-Arte Museum in Austin, Texas. A vase of white flowers sits on a purple podium on the left. To the right of the flowers is a wall separating the space. The most visible wall, which is on the right, features floral paintings of various sizes.

Photograph of six individuals in the home of an exhibition donor to the Mexico in Austin Collections, which was held at the Mexic-Arte Museum in Austin, Texas. Pictured are Sylvia Orozco, Terry Tannert, Susan Frost, Juan Sandoval, and John Kikpatrick. Sylvia Orozco stands farthest to the left and Terry Tannert stands second from the left. An ornate rug is hung from the wall behind them. Decorative blue glassware is presented in a case on the right.

Photograph of a smiling Hispanic woman standing behind a podium and speaking into a microphone. The woman is standing in front of a large colorful wall mural of four Hispanic people standing behind a cloaked woman standing in a fern and holding a white bird. There are several brightly painted symbols below the mural.

Photograph of Iker Larruri, Santa Barraza, Sylvia Orozco, and Jorge Sedeño at A MexicTejana from Neplanta, an exhibition at the Mexic-Arte Museum in Austin, Texas that ran from January 28th, 2000 to April 15th, 1999. They stand in front of a colorful mural of a woman who wears a blue shawl and red and gold blouse. An anatomically correct heart appears at her chest. Larruri, Barraza, and Orozco wear black, while Sedeño wears a beige blazer.

Photograph of John Kirkpatrick in the Mexico in Austin Collections, an exhibit housed at the Mexic-Arte Museum in Austin, Texas. Kirkpatrick faces a wall on the right of the photograph. He is studying a newspaper clipping that prominently features a drawing of a mustachioed gentleman. Kirkpatrick wears a plaid blazer jacket in teal, green, pink, and purple colors. Text on the right wall gives thanks to Austin Collectors.

Letters to Sterling Houston written by several people. The first is written by Anita. She reminisces about two recent events and ends the letter by noting how much she values her friendship with Houston. Tanya Palmer and Amy Wegener write the second - in the hopes of receiving new stage plays by Mr. Houston for their Humana Festival in Kentucky, which they manage. The third letter comes from Steven Bailey, in which he talks about his travel schedule and recent updates in his professional career. The fourth letter appears to be more generally addressed, as noted by the "Dear Friends and Family" beginning. It is written by Robert, Steven's partner. He also writes about recent news in his professional career, with some mention of his personal life.

Photograph of Raul Alvarez speaking at the Mexico in Austin Collections, an exhibit housed at the Mexic-Arte Museum in Austin, Texas. Alvarez wears a muted green button up shirt. He gestures with both hands and looks toward the right side of the photograph. Paintings of individuals are hung from the wall behind him.

Photograph of three individuals in the Mexico in Austin Collections, an exhibition held at the Mexic-Arte Museum in Austin, Texas in 2000. Sylvia Orozco, left, is looking at Darrel Slusher, who is speaking and gesturing. Raul Alvarez, right, is also looking toward Slusher. They stand in front of a painting of a horned, yawning animal.

Photograph of several politicians standing for a group picture during election night at Vicente Fox's headquarters. From left to right, they have been identified as Edwina Salas, councilman Mario Marcel Salas of San Antonio, former Texas governor Ann Richards, councilman Raul Prado, and Arizona congressman Edward L. Pastor.

Photograph of a construction project in Danevang, Texas; the future site of the Danish Heritage Preservation Society. Taken a short distance away, the photograph captures at least four men working on various parts of the building's exterior wooden framework. The beginning of a gambrel roof and tall ceilings can be seen.

Photograph of a construction project in Danevang, Texas. It is the future site of the Danish Heritage Preservation Society. The photograph was taken inside the building, and captures a group of construction workers on various parts of the building's first and second floors. A man on the right is pointing at something to another man standing on a scaffold. Various objects - bags, trash, bricks, etc - are strewn about on the cement foundation.

Photograph of a construction project in Danevang, Texas; the future site of the Danish Heritage Preservation Society. Taken from a close angle, the photo captures the top of the beginning part of a gambrel roof. At its apex, a male construction worker in a black tank top is precariously balanced on top. He has put his weight on a projecting plank of wood and positioned his legs in between two vertical wooden beams to prevent himself from falling. A second man can be seen inside, almost hidden from view by the beams.

Photograph of a construction project in Danevang, Texas; the future site of the Danish Heritage Preservation Society. A large plot of land has been leveled, long horizontal beams of wood aligned on the dirt to make a rectangle, and a cement foundation appears to have been poured. There is a man in the foreground, identified as Al Jensen, handling a slender object, looking down. He wears blue denim jeans, a plaid short-sleeve shirt, and a hat. A second man is seen in the distance with a hose in his hand. In the background, there is a small windmill and a single-story structure with white siding and sloping roofs.

Photograph of a construction project in Danevang, Texas; the future site of the Danish Heritage Preservation Society. The foundation and the wooden framework can be seen on the right side. To the left, the dirt has been piled high from large tire tracks, presumably belonging to the red crane a short distance away from where the photograph was taken. Behind it, there is a yellow tractor, on which a man sits. Two other unidentified men can be seen behind the wooden beams.

The Nesbitt Memorial Library Journal contains historical information about Colorado County, Texas including personal accounts and research into area stories.