In the cabaret of globalization, the state shows itself as a table dancer that strips off everything until it is left with only the minimum indispensable garments: the repressive force.

We are an army of dreamers, and that's why we're invincible.

The photographer discovers himself/herself being photographed and we can guess he is uncomfortable. Unsuccessfully he/she tries to recompose his posture and to look like a photographer taking photos. But no, he is and continues to be a spectator. The momentous fact of being photographed leads him to becoming an actor. And, as always, actors must assume a role, which is only an elegant way of avoiding to say they must choose sides, choose a faction, take an option.

... the photographer is a thief who chooses what he steals (which, at this stage of the crisis, is a luxury) and does not democratize the image, that is to say, the photographer selects the pictures, a privilege which ought to be granted to the person being photographed.

Our choice is not between war and peace but between life with dignity or without

Marcos is all the exploited, marginalised, oppressed minorities resisting and saying "Enough!" He is every minority who is now beginning to speak and every majority that must shut up and listen. He is every untolerated group searching for a way to speak. Everything that makes power and the good consciences of those in power uncomfortable - this is Marcos.

As to whether Marcos is gay: Marcos is gay in San Francisco, black in South Africa, an Asian in Europe, a Chicano in San Ysidro, an anarchist in Spain, a Palestinian in Israel, a Mayan Indian in the streets of San Cristobal, a Jew in Germany, a Gypsy in Poland, a Mohawk in Quebec, a pacifist in Bosnia, a single woman on the Metro at 10pm, a peasant without land, a gang member in the slums, an unemployed worker, an unhappy student and, of course, a Zapatista in the mountains.