As viewers take in the layers of Anthony Razo Rico’s Ain’t What Ya Think, they begin to uncover the artist’s process and the symbolic peeling back of identity. The subject’s piercing gaze cuts through a field of carefully painted vertical lines—an homage to Rico’s background in sign painting. These lines contrast sharply with the expressive, flaring spray paint in the background. By blending traditional and nontraditional techniques, Rico merges abstracted penmanship into a composition that challenges how we perceive the figure. The work disrupts assumptions and encourages deeper reflection—reminding us, as the title suggests, it ain’t what you think.

Rico’s use of design elements characteristic of signage not only reflects his personal background, but also aligns with the themes he explores throughout his body of work. He deliberately contrasts the rigid white lines with the texture of the man’s skin and clothes, communicating the impact of marketing tactics and advertisements on how people view themselves and others. Much like how the sharp, evenly distributed lines serve to obscure the expression of the man underneath, established ideals of manhood prevent more nuanced forms of masculinity from coming to the surface. The motifs present in Ain’t What Ya Think are consistent with Rico’s overall desire to challenge the viewer to look inward, and to question the concepts of identity and perception.

First paragraph written by Miguel Zavala-Lopez, 2025.
Second paragraph written by Emiliana Dar Santos, 2025.