1 T his essay seeks to present new research examin- ing ideas related to the art and architecture of local communities in the Sacred Valley of Peru is paper will examine in careful detail the church of San Martin de Tours in Huarocondo and its painted decorations to explore how Indigenous patrons estab- lished their identity and prominence in this community. e wall frescos and retablos commissioned in the sev- enteenth century reveal how these descendants of Inca elites negotiated their power within this visual culture, as owners of agricultural estates and leaders in their community, to create new art forms that were unique to this localized context. is essay departs from analyzing solely the painting schools in the main urban centers of Lima and Cusco by exploring lesser-known artists, new pictori- al traditions, and the complex realities and histories behind the creators that produced them. is new case study will give important attention to Andean artists and Inca descendants in the communities of Anta, Zurite, and Huarocondo in the Sacred Valley outside of Cusco (fig. 1). ese Inca patrons, who commissioned paintings with hybrid iconographies and non-European donors juxtaposed to Catholic saints, created unique visual discourses and inventive art forms in the Andes. ese new pictorial images that changed to meet local- ized needs in the seventeenth century, created hybrid styles that transcended conquest narratives and did not sever Indigenous pasts from their colonial present, but rather created unique paintings that embodied powerful Andean identities. Building on the ideas of omas B.F. Cummins in this volume addressing the aporias in George Kubler’s approach to his scholarship, which despite his founda- tional reputation to the field, did not acknowledge the perseverance and important meaning of Andean aes- thetics and cultural expressions, this essay will examine how Native identity in the Sacred Valley in Peru was not erased in the colonial period, but rather artists actively continued to represent Indigenous motifs and play a key role in the manipulation of their own religious space. 1 Writing about Indigenous artists actively subverting symbolic signs of hegemony and negotiating their power in New Spain, Dana Liebsohn writes that even though they “could not openly ‘resist’ encroachments on their physical boundaries, Indigenous artists found ways to avoid ‘the extinction of pre-Columbian motifs’ and the encroachment on their symbolic boundaries and Indian identity.” 2 Patrons in Huarocondo in Peru commis- sioned images representing the endurance of Indigenous culture, and artists were not passive subjects but rather constituted a thriving, blurring of boundaries where Indigenous community members remained proactive in their participation in art production and played a role 1 Thomas B.F. Cummins, “‘…An itinerant mestizo…’: The Work of Viceregal Art, Indigenous Values, and a Toast with the Aporias of George Kubler,” Latin American and Latinx Visual Culture 3, no. 4 (2021): 5; see also Barbara E. Mundy, “Kubler’s “On the Colonial Extinction of the Motifs of Pre-Columbian Art” Reconsidered,” Latin American and Latinx Visual Culture 2, no. 4 (2020): 55–60. 2 Dana Liebsohn, “Colony and Cartography: Shifting Signs on Indigenous Maps of New Spain,” in Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650, ed. Claire J. Farago (New Haven: Yale University Press, 1995), 279. Local Devotions through Inventories: Native Identities in the Creation of Art in Cusco and the Sacred Valley By Katherine Moore McAllen University of Texas Rio Grande Valley