María Irene Fornés is likely the most well-known Latiné playwright in the US. It is also widely known that Fornés is a lesbian, yet, her sexual orientation is rarely, if ever, at the forefront of her plays. Fornés also famously resisted these labels, which she considered limiting and reductive. The authors argue that challenges in labeling Fornés stem not only from her personal resistance to limiting categories, but also her specific biography, aesthetics, and politics as well as her active resistance to sanitized institutional multicultural frames adopted by predominantly white mainstream cultural institutions that attempted to categorize these experiences in ways convenient for social scientists, policymakers, and the market. The authors query whether and how Fornés prompts contemporary readers to resist the desire to read her work as ethnographic portraiture or testimonial literature and instead as an articulation of creative worlds within and through a distinctively Latiné sensibility.