Although there is a surplus of literature dealing with U.S.-Mexico border identities and cultures, this article begins to problematize and reposition Chicana/o art historical discourse by engaging with the U.S.-Canada border. By investigating the relationship between working-class histories and Chicana/o visual culture in Michigan, the article analyzes the function of MiChicana/o culture along la frontera nortena. Evoking a multiplicity of art historical and cultural studies approaches, the author addresses the work of George Vargas, Martin Moreno, Nora Chapa Mendoza, and the Xicano Development Center, among others, in hopes of recentering Chicana/o cultural studies. (Contains 6 figures and 12 notes.)