The title of Anguia's screenprint, translates loosely  to "eagle" and "knight" or "rider", but in fact references Eagle Lord.  Eagle Lord  signals prehispanic imagery of the Mexican warrior cult to make a contemporary statement about relationships between couples.  The lips of the warrior are about to kiss the approaching fish but the predatory aspect of this same being, represented by the eagle helmet, will consume the fish after the kiss.

This is the artist's playful comparison of flirtation and seduction in the battle of love.

The print's documentation sheet accompanies the framed print.

Anguía was known to have worked and exhibited at the Galeria de la Raza. La Raza, founded in 1970, is located in the Misison district of San Francisco, California. The gallery was a well-known printmaking studio and gallery where some very famous artists have worked and exhibited, such as Rupert Garcia.

Currently Anguía functions as an installation/performance artist, constructing ludicrous spaces that resemble the wagons of the freak shows. His installations are decorated with popular sayings, trucker's slogans and graphics. He uses of urban mythology are utilized to give place to a new set of mythical beings that comment on politics and culture.

Anguía's performances often include a version of the traditional lottery, recontextualizing and transforming its images into threatening icons: the suicide, the hungrey, the politician-thief, the bureaucrat, among others, become caustic illustrations of city pathos. When the game is over, he gives the winner samples of his own art work.

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