In his MFA thesis exhibition, noé olivas utilizes printmaking, sculpture, and performance to continue his ongoing meditation on the poetics of labor. Works on view draw upon personal belongings and cultural symbols to consider the ways that labor is performed, contested, and made invisible. From the 1987 white Ford Ranger he acquired from his parents to his longstanding experimentation with the image of the Sleepy Mexican, olivas channels various reference points through the language of poetics to chart an alternative pathway of meaning-making and reflection. The exhibition’s title, Que sueñes con los angelitos, is drawn from a phrase layered with meaning. It can be used to wish sweet dreams to a sleeping loved one or can equally serve as a protective prayer against negative energy. For olivas, the phrase is also an ode to Los Angeles–a city where mentors, friends, and angels have guided him and nurtured his artistic practice