Studies on Chile’s transition to democracy after Pinochet’s regime regarding memory, history, and public space have focused mainly on their massive visual/material expressions, either officially sponsored or created by oppositional activists. Few have studied the battle for memory carried on through alternative means and on a smaller scale by groups excluded both by the retiring dictatorship and the upcoming democracy. This work analyzes how the aesthetic-political actions of the artistic duo Las Yeguas del Apocalipsis, as openly homosexual activists with intentionally fluid identities, embodied a radical and militant difference from which they actively aimed to publicly challenge and broaden the discussions and political culture by which a “new” country was being thought of and built.

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