Ximena Castro's work is profound, intensely colorful, easy to appreciate, friendly to the eye of those who appreciate it. It inevitably belongs to a naïve pictorial style: it is spontaneous, with a self-taught line that does not worry about complying with the norms of the academic painting because it doesn't need them. It moves between candidness and drama; There is a simplicity in the line that, at the same time, overflows into multiple elements: naturalistic, philosophical, genealogical

In her painting there is a search, an insistence and an immersion in femininity, and with this element, it becomes heir to an entire movement of Mexican women who paint and draw themselves and who also paint and draw other women.

This element of the feminine does its transcendental work. Lorena Zamora Betancourt in her book: 𝐸𝑙 𝑑𝑒𝑠𝑛𝑢𝑑𝑜 𝑓𝑒𝑚𝑒𝑛𝑖𝑛𝑜, 𝑢𝑛𝑎 𝑣𝑖𝑠𝑖𝑜́𝑛 𝑑𝑒 𝑙𝑜 𝑝𝑟𝑜𝑝𝑖𝑜, addresses this topic: the reinterpretation of nudity, sensuality and eroticism in women's bodies from the vision of other women and not men, this being very significant since the history of plastic art has established that 99% of the draftsmen and painters have been men, imposing a masculine vision of the concept and idea of ​​what nudity is and what it should be feminine, reducing it to the phenomenon of sexuality, carnal desire and eroticism.

The vision that women have of their own bodies and the bodies of other women in art is far from the male gaze: they involve different elements, more emotional, more profound, sublime, terrifying, mystical, cosmic.

The work of Ximena Castro, and herself, are fully inserted in this avant-garde pictorial movement that determines a crucial moment in the history of women in art and politics, from the middle of the 20th century and the beginning of the current 21st century.