These two images were juxtaposed against one another to show exactly what the author was trying to convey: hegemonic heteronormativity. What does this say about the power of masculinity and heteronormativity when both Chinese and American boys are engaging in similar discourses and practices.
The title of the image could also be Chemicals in Plain Sight. The image thoughtfully plays between the idea of plain sight and camouflage. Instead of hiding the rods among the trees, where they might better blend in, or transposing them on the water where they would really stick out, the artist carefully places the rods such that they are in/visible.
At first viewing, I was not certain the composition worked at conveying the disrupture happening. However, after looking again, and considering the placing of the text in its homage to horror-camp, it undergirds the jarringly absurd behavior of the president against the reality of suffering experienced by Puerto Ricans everywhere. In many ways, this situation is an example of the loss of words in the face of administrative and popular depravity.
Quite cleverly even in its form as a screenshot, the image manages to evoke a sense of movement and passing of time. Camila frozen in mid-sentence and mid-gesture, the blurring of the passing car, the icons on the screen indicating that this is a still from a film, the viewer is both drawn to the image as a static, bounded piece, while simultaneously urged to imagine the moving whole.