Sor Juana Inés de la Cruz was said to have befriended five Virreinas or wives of Viceroys and to have converted her nun´s cell into a salon.  Was she seeking influence or simply expressing friendship in one of her longest poems addressed to one of these ladies?  If I read her correctly, she was communicating her friendship. She wrote at the end of the seventeenth century.

Throughout the colonial period, this region was inhabited by an ethnically diverse population, so several kinds of identity may be found in the literatures of New Spain. The indigenous peoples of much of this territory had an ancient literary tradition combining oral traditions with systems of visual notation, ranging from pure semasiography (the recording of ideas with a complex system of visual signs, straddling the fuzzy border between western categories of "art" and "writing") to mixed systems combining semasiographs with glottographs (in which linguistic units like morphemes and syllables are represented). This tradition continued throughout much of the colonial period, gradually loosing ground to alphabetic texts (in native languages, Castillian or Latin), in many of which we may find robust expressions of native identity, along with adaptations of western literary genres. Most of these texts existed only in manuscript form during the colonial period, some in conventual libraries where they were read and copied, others in native communal archives, where they were used to construct collective identities and as instruments in legal struggles. Many were published in the 19th, 20th, and 21st centuries. For an overview of the native literatures of New Spain, see the appropriate volumes of the Handbook of Middle American Indians, including the more recent supplementary volumes. I have posted some studies on my ResearchGate page that relate to your question, especially regarding native literary traditions.

Literature produced by Europeans in New Spain and their criollo descendents is another story, interwoven with the latter. Some of the more famous texts have been mentioned on this thread. For early examples, see México en 1554 and Crónica de la Nueva España by the Spanish scholar Francisco Cervantes de Salazar, who came to New Spain to head the Royal University. By the mid-18th century many texts exhibit a strong sense of criollo identity, traditionally considered as a precursor of Mexican nationalism; see, for example, Bernabé Navarro B., Cultura mexicana moderna en el siglo XVIII (Mexico: Universidad Nacional Autónoma de México, 1983).

Here is a paper of mine (in Castillian) that includes a lively expression of Otomí identity, partly in verse, from an 18th century manuscript with a critique, by a native speaker, of the Otomí grammar published in 1767 by a criollo priest who was teaching Otomí, in what was basically a certification program for aspiring parish priests. The original is in the Newberry Library in Chicago.

 https://www.researchgate.net/publication/235927502_Dos_textos_de_un_crtico_otom_del_siglo_XVIII?ev=prf_pub

Conference Paper Dos textos de un crítico otomí del siglo XVIII

Dear Nelson

Thanks for your contribution.  I had read only a few texts from Sor Juana Inés de la Cruz, but I think I need an expert in that theme to make me understand what is behind a lot of her poems, because, she was very clever to build a big work of art.

Dear María Eugenia

I just read a few lines of Grandeza Mexicana and even Mariana Calderón, that wrote about this document, she said that he could consider an Hispanoamerican author.  And from Diego Muñoz Camargo I read another opinion, but it could be another author to join into the list of Hispanoamerican authors.  Thank you for your contribution.

Dear David

First, I want to thank you for taking your time for writing this big answer and to share your information.  And second, as a mexican, I didn't know that this information is in Chicago and Princeton (I think that a lot of mexican history is all around the world).  We were talking about that Hispanicamerican Literature, at the beginning, is a universe of texts, drawings, and other things that build all the literary genre.  This is like opening a Pandora Box, and it's not for the annoying demons, but it's for all the information and the branches that grows and grows. Thanks again. 

You are welcome, Mario.

The story of the bibliographical diaspora in Mexico is long, complex, and fascinating. Many documents were removed during the Reform period in the second half of the 19th century. Others were "collected" during the Revolution of the early 20th century and its aftermath. Today these treasures are held by libraries throughout Europe and the Americas. Of course, much still remains in Mexican collections.

Many U. S. repositories offer grants to scholars who wish to study these materials directly. This is true of the Newberry Library in Chicago, the Princeton University Library, Dumbarton Oaks Research Library and Collection in Washington, the Benson Latin American Collection at the University of Texas in Austin, the Latin American Library at Tulane University in New Orleans, and the Bancroft Library at the University of California in Berkeley, among others.

I am not sure that many of the authors and works mentioned up to now did really contribute much "to produce an identity of the habitants of the region" (Nueva España). Some of them show an "american" conscience, or an "indian conscience", but a New Spanish-Mexican conscience of identity has to wait until the XVIIIth century to develop clearly. Certainly in Balbuena (not only in "Grandeza mexicana" but in some chants of the "Bernardo") or in Sor Juana one can find some pride or the vindication of being different from the "peninsulars", but that is not still a "national" conscience of identity, if that is what you mean in your question.