The back scenery has mountains, cowboys, horses, and yellow fields. On the dirt, the cowboys are laying down with their rifles in hand and the horses stand to the back of them. Frito Lay hangs upside down at the top of the illustration, where he is smiling and has one hand directing straight and the other folded. Frito Lay is drawn in black and white. The intent of the image illustrates a more positive image of being immigrant in which there was a time the thought of having immigrants was great. From 1997 to 1998, this art piece contains the media of IRIA digital print on paper and flashe paint, prisma color, and graphite. The background of the painting is a breast, where inside of the breast an image of a half Jesus and half an Uncle Sam are illustrated. Their faces and body are half and half of each. The surrounding is painted royal blue. Suarez, as seen with previous works of hers depicting being part of two cultures, connects political and psychological issues, by using religion and a past U.S. president. The painting measures 84 by 61 inches. With a single palm tree, an island is painted. The background is red in company of the waving of lines that represent giant jellyfish surrounding the island. Suárez claims the island represents Puerto Rico by being invisible, dispensable, and ignored by the United States. The painting was part of the exhibition "In Search of an Island". Dating from 2005 to 2011, the above artwork used the medium of acrylic paint and laser transfer. The art piece's background is a bright green, with the number 27 in the top right corner. In the center, the heart is illustrated with bright colors of yellow, red, blue, and light pink. The heart is wounded with blood gushing out. El Corazon ("The Heart)" is written at the bottom left corner. The intent of this piece reflects on the broader issue of acceptance and welcome as an immigrant. In autumn of 2011 at DePaul University, Suárez was a faculty fellow at the Center for Latino Research. She won the Illinois Arts Council Individual Visual Artist Fellowships Awards three times, in the years of 1991, 1994, and 1999. The Arts Midwest/NEA Regional Visual Arts Fellowship was awarded to her in 2012 and for 2003-2004 in the Center for study of Race, Politics, and Culture at the University of Chicago, she was the inaugural recipient artist in the residence fellowship. Based on a section of an exhibition of Antonio Martorell's work at the Institute for Puerto Rican Art and Culture, Bibiana Suárez published the "Culture Vulture" in the "Chicago Reader".