"The next time you go to the market take a notebook and write down fifty things about the trip - on the way, there, in the parking lot, coming home. List ten projects for which sources could be found at the market, not necessarily related to the buying and selling of food. Make three- or four-line poems from the promises on the food labels" (Kent & Steward, 2008, p. 57)

One of Corita's most infamous works is her serigraph print "tomato"(1964) in which she quoted fellow educator, Sam Eisenstein’s reaction to the 1964 Mary’s Day celebration: “If a canned food company feels justified in saying their tomatoes are the juiciest, it is not desecration to say, ‘Mother Mary is the juiciest tomato of them all.” Although this could be read as a challenge to Church authority, Dackerman (2015) asserts that tomato also shows Corita’s commitment to the revitalizations engendered by Vatican II, specifically the shift from Latin Mass to use of vernacular language. By borrowing from cultural vernacular, the infamous serigraph is described by the aforementioned scholars as an expression of making the Gospel more accessible. However, as Dackerman further explains, the serigraph also offered an updated conception of female divinity. In the words of Corita’s friend and co-conspirator Father Daniel Berrigan, “all hell broke loose” after the publication of tomato. Voicing his understanding that within structures of the Catholic society, Fr. Berrigan describes the conflict through his claim that men “owned the icons of the Blessed Virgin,” and thereby “owned” women (Ault, 2006, p. 116).

In what ways do advertisements engage with body politics? Who owns YOUR oranges? Who grew them? How fresh are they? How juicy? Are they organic? How does this speak to agri/cultural norms?