In Mexico, the Virgen de Guadalupe stands as a powerful icon of cultural syncretism, merging pre-Columbian traditions with Spanish colonialism. Annually, millions of pilgrims travel to Tepeyac to honor her, seeking blessings for health, love, and prosperity. This pilgrimage echoes ancient rituals performed at Tepeyac, an important pre-Columbian site where various gods were worshipped, and human sacrifices took place. The Virgin, who appeared at this site speaking Nahuatl, has replaced the Aztec deity Tonantzin, embodying the mestizaje process.

Alinka Echeverría’s project, "The Road to Tepeyac," captures this syncretism vividly. Pilgrims of all ages carry diverse, often handmade images of the Virgin, becoming living representations not only of their faith but also a now merged cultural identity. Through Echeverría's work, the enduring legacy of this syncretism is brought to life, highlighting deep connections between past and present.

The seriality deconstructs the historical, political, philosophical, psychological and anthropological relationship between an invisible presence and its materialized expression.

The recurring presence of pilgrims helps to demystify the iconic images they carry on their backs. Each pilgrim, rather than blending into a crowd, stands out for their unique expression of faith.

The work was created over two years at the site of Tepeyac, on the days leading up to the anniversary of the Virgin’s apparitions in 1531.