NOTE: For panel theme 4 or 5. How did working class lesbians and feminists of color in the Americas connect across borders as early as the 1980s? Based on research conducted about and with Solís, this paper explores the rarely told history and experience of transnational grassroots lesbian feminism between Mexico, Latin America, and Chicago through the life and work of photographer Diana Solís (b. 1957, Monterrey, Mexico). This includes Solís' engagement with early Latina and women of color feminist and lesbian socializing, organizing, and claiming public space in Chicago, her participation in early grassroots, regional Encuentros Feministas de Latinoamérica y el Caribe (Peru 1983 and Mexico 1987), including their first lesbian organizing activities, her membership in one of the first lesbian feminist groups in Mexico City and Latin America, Oikabeth, and her work to help launch Cuarto Creciente, a space for feminists-- including lesbians-- to listen to music, hear poetry, and socialize beyond the underground lesbian bars and binary gender roles of Mexico City. Despite widespread assumptions that the White U.S. and Europe had the most advanced feminist and lesbian organizing and practice during the 1980s, I find that the collectivist, anti-imperialist, anti-sexist, anti-heterosexist, and anti-racist principles, organizing, creativity, and place-making of Solís' circles and were rich, diverse, multidimensional, and highly developed. After decades as a struggling artist from a working class background, Solís' photographs have been rediscovered, with her work exhibited at spaces including the Chicago Cultural Center and the Leslie Lohman Museum of Art (NYC), one of the first LGBTQIA+ art museums in the world. Currently identifying as non-binary, Solís is finally recognized as an important photographer/artist, including an award of a Latinx Artist Fellowship (2023) given to "the most compelling visual artists working in the US today" (https://uslaf.org/latinx-artist-fellowship-old/fact-sheet/).