It is fitting, then, that Chicano art became a means for Serrato to feel proud of his heritage and engaged with his community. He bought works by
, Luján, Garcia, Tony deCarlo, Lozano, and Lalo Alcaraz, and Joseph Maruska, among many others. He joined Chicano Art Collectors Anonymous or CACA, the group whose collections appeared at the Santa Monica Museum in 2000. “The main goal of the show was to highlight the passion and obsession at the heart of collecting Chicano/a art,” Gaspar de Alba explains. “Indeed, the CACA members consider their fascination for Chicano/a art a form of ‘addiction,’ as implied by their collective name: Chicano Art Collectors Anonymous
.” The membership was mostly middle-class, and the driving forces behind their collecting practices were often identity and community politics. Validating the art by purchasing it constituted its own powerful act of social participation.
CACA meetings took place in the members’ homes, so they could survey each other's collections. Recalling the first time that the group came to his house, Serrato says, “I was a private collector who no one knew about. I lived with my parents in Whittier. They were shocked when I opened the door. They looked around and were like, we can’t believe this. Who are you?”
“I’m Enrique Serrato,” he replied. “And I’m an art collector.”