In the 18th century, European and Mexican colonial artists were fascinated by the emergence of racial mixing within the Spanish lineage. Artwork began to feature pieces depicting three major groups that inhabited the colony: Indians, Spanish, Africans, and other ethnicities. This new genre of painting was known as Casta painting and depicted colonial depictions of racial intermarriage and their offspring. Traditionally, Casta paintings were a pictorial genre often commissioned by Spaniards as souvenirs upon their arrival from New Spain (Mexico). And yet, why would such works have so much fascination despite their suggestive theme? It is clear that Casta's paintings depict interracial groups and couples, but they seem to have a deeper function when it comes to analyzing these works. These paintings demonstrate that casta paintings were created to display racial hierarchies within the era. They depict the domestic life of interracial marriages and are systematically categorized through a comprehensive series of individual paintings. It is clear that the fascination of these works reflects the categorization of the new emerging lineages and presents these characters in a way that demonstrates the social stereotypes of these people by linking them to their domestic activities and the objects that surround them as well. Despite the many racial stereotypes depicted in these works, caste paintings construct racial identities through visual representations. The Castas described marginal statuses in Europe and were structured to identify groups that were not classified as "Spaniards." Names such as “Metis,” “Mulatto,” or “Spaniard” not only described an individual’s physical appearance, but rather these names functioned as a racial label among “physical, social, and moral qualities.” These paintings