In the large-scale charcoal and pastel work on paper, Road Map (2004), Chagoya depicts a Christ-driven helicopter confronting a diminutively scaled Alice in Wonderland. Drawn in the style of Lewis Carroll’s illustrated texts, Alice stands on top of a dodo and holds out a flamingo who in turn extends a foot onto the nose of the helicopter. In his classic novel, Carroll follows the adventures of a young girl named Alice as she travels lost through a byzantine world called Wonderland, often either shrinking or growing in size along her journey. While Lewis Caroll was an ordained deacon in the Church of England, Alice in Wonderland has been interpreted by some as exploring themes of spiritual discovery, questioning of authority, challenging conventional morality and a philosophical search for identity. Chagoya has returned to this image in varied formats and sizes, combining figures from pop culture, literature, politics and religion as an ambiguous poetic form. In particular, the confrontation depicted here between the secular and religious raises questions about power, as well as the systems that come to define it. Chagoya has said, “political roadmaps are just ideological constructions, just more borders. In history, maps and borders – including internal borders among people – are always changing.”[1]