In 2003 I interviewed interdisciplinary/performance artist Roberto Sifuentes at his studio in lower Manhattan for a project I was making called The National Identity Project, in which I captured stories from people who experienced street violence post-9/11 because they were presumed to be Arabs. I met Sifuentes through his then-wife, Lián Amaris, a fascinating artist in her own right, who was a colleague during my Masters at NYU. She overheard me talking about my idea and said, "Ha. You should talk with my husband." Sifuentes is a core member of La Pocha Nostra, Guillermo Gómez-Peña's techno-art/performance ensemble. La Pocha Nostra has done some fascinating work post-9/11 on the dangers of ethnic profiling and the blurring of Middle Eastern and Chicano identities in the imagination of western authority. I'm posting this because I think it is even more relevant now than it was four years ago.