A documentary of the 1986 International Women's Day march in Santiago, where women protested for the return to democracy and free elections in Chile. The tape captures the resiliency and strength of women who defy systems of oppression.

This video documentation captures the art action performed by the artist who alters street signs of Santiago, Chile during a brutal dictatorship.

An affirmation of fearlessness during a time of systemic violence and oppression.

A close-up of girls repeatedly praying “Heavenly Father” while eating popsicles to reach a toy soldier inserted in the treat.

One of several documents of C.A.D.A.’s “Art Actions”. Milk is distributed in a marginal area; 30 liters of milk are sealed in an art gallery; a speech is given in front of an international organization; an article is published in a magazine of the opposition expressing the shortages of staples in Chile.

The artist uses thread to progressively wrap her face in a performative gesture that self-inflicts facial distortion through a painful binding that prohibits self-expression during dictatorship era Brazil.

The banality of a typical Brazilian domestic scene is disrupted in this performative video that uses feijão (black beans) to create a new ritual, a discordant image of woman, television, and home.

The artist arrives at the bathroom mirror and gets ready to leave in a daily ritual that inverts her own image prohibiting sight and speech, highlighting the ominous confluence of femininity, state censorship, and patriarchy.

Sewing on the sole of the foot with a needle and a black thread, the artist embroiders the words “MADE IN BRASIL” materializing notions of branding and belonging in a time of state violence and oppression.