Yvette Mayorga’s project Borderland Series (2014–2015) employs confection, industrial materials, and the American board game Candy Land as a conceptual framework to juxtapose the border- lands of the United States and Mexico. The spaces in the “Candy Lands” of her work relate to notions of Utopia, exemplifying the immigrant’s vision of the American Dream. Candy Land signifies an America filled with the possibility of happiness while Mexico becomes the land of lost hope. Informed by the politics of the bor- der, the events that happen on it and the transnational narratives that arise after crossing it, Yvette tackles issues of race, identity, gender, and Latin stereotypes using the visual tropes of celebration. The monuments/towers, built from accumulated candy, frosting found objects exemplify the excess associated with the American Dream. They stand as living shrines to real life individuals, such as Selena Quintanilla, her mother, and her sister.