In his second solo show Dishwater Holds No Images at Company Gallery, Troy Montes Michie builds on his interventionist collage practice with a series of work that weaves in the subcultural figure of ‘La Pachuca.’ This body of work is a development of the artist’s investigation into the ‘zoot suit’ -- a countercultural fashion statement from the 1930s that can be traced to swing musician Cab Calloway and the jazz scenes of Harlem, but was adopted by Chicanos and even sampled by the Japanese Americans incarcerated in U.S. internment camps of the 1940s. In a marked turn to the feminine, Montes Michie locates the subversive expression against gender norms in the zoot suit’s characteristically draped and oversized quality among the era’s working class Mexican-American women styled with bouffant hairstyles and dark lipstick.