This dissertation is a Chicana feminist analysis of the work and visual tactics of contemporary Chicana/o digital artivists—artist/activist, according to the work of Chela Sandoval and Guisela Latorre—in California from 2000 until circa 2016. Given the growing body of artivist work being produced today and its distribution via digital means, my research theorizes the Chicana Radical Digital Aesthetic (CRDA) as a praxis and theoretical lens to analyze how new digital artivists are changing contemporary social justice efforts. I focus on six artivists: Elizabeth Blancas, Jesus Barraza, Melanie Cervantes, Jessica Sabogal, Julio Salgado, and Favianna Rodriguez. I center their work and knowledge as key actors in a current Chicanx twenty-first-century digital arts movement exploring the digital realm as a space of production, distribution, and reception of a new generation of Chicanx artivism spanning national and transnational social justice movements. I continue the growing scholarship on Black, Indigenous, and People of Color-made graphic arts that connects the rich tradition of graphic art from the 1960s–1970s civil rights era to contemporary digital art practice. Drawing on my experiences as both an artivist and an active participant in contemporary Chicanx art communities, my methodology combines oral history interviews, visual analysis, and collaborative artmaking. I theorize the Chicana Radical Digital Aesthetic (CRDA) in order to trace the political poster from the printed material object to digital graphic artivist tool. In Chapter Two, I focus on the practice of self-portraits, and portraiture more broadly, through analysis of Julio Salgado and Jessica Sabogal’s work. Chapter Three links the internationalist roots of Chicanx art between 1965 and 1995, as well as the contributions of Chicana feminist printmakers from the post-Vietnam period to contemporary internationalist themes in digital work. Chapter Four examines how Melanie Cervantes and Favianna Rodriguez employ a strategy of embodiment on multiple scales—their own physical bodies as well as their larger environment and the “digital” spaces they inhabit. Chapter Five details what I term “Networks of Care” among Chicanx/Latinx artivists online and the myriad resources they share in a digital community. I conclude by discussing the ways Latinx/Chicanx artivists have engaged with the growing concerns of a racially biased algorithm and new directions that result from this work.