Francisco Ali Brouchoud proposes a meeting with the millenary strategic oriental game of go (or weigi; in Chinese) whose objective is the conquest of territories and cartographies. Dos, tres, muchos Vietnam consists of four go boards, with their respective black and white counters. Each board has had images printed over the horizontal and vertical lines that constitute it, a mute map that correspond to the territories of Iraq, Afghanistan, the Unites States and the Triple Frontier zone between Argentina, Brazil and Paraguay, all of them conflictive zones of the world.
	Claudia Contreras constructs and reconstructs Argentinean maps. Through these operations she expresses her desire for social transformation, the constant presence of her present relation with the territory and internalises her belonging to a society of uncertainty, without guarantees. The works refer to Argentina and account for the memory as an active work, she presents three series of works. Historias Clinicas, Mapas del Delta y Fruncir, the stars are some sort of an exploration of the pathologies of the country in search of its cure and transformation.
	Mara Facchin works with the silhouette of the country applying the aural spiral, the figure that arises from a mathematical proportion, the so called divine proportion, or golden number, the key that gives rise to the beauty of certain objects that man created and of others that exist in nature, the harmonic figure to which a spiritual nature is also conferred. She discovers curious coincidences and relations between the tour of the spiral and the geographical regions of the country. The work refers to crisis and repair by means of reason and spirit as beauty.
	The belief of some representatives of the Western Christian civilisation in its universal victory is the theme of León Ferrari’s works. The history of the conquest allows many reflections, it has demonstrated that Western Christian civilisation has succeeded in the past thanks to the superiority in affirmed human communication at the expense of its communication with the world, amongst other things. Even though once the colonial period was surpassed the revaluation of that communication with the world seemed to be reinstalled, the present experience is discouraging in view of the modern states that profess state religions where everything is allowed.
	Luis Felipe Noé already in 1972 designed a new map of America, in this serigraphy over canvass Latin America constitutes itself as one country, thus signalling its peculiar vision of a regionalism of great scale. In 1992 he published a book in Colombia in which he reflects upon the institutionalisation of mapping distortion in benefit of colonial countries. In 2004 he re-published “An advanced colonial society”; talking thirty years later about the idea of the country that he and his friends had in the 1970s, while at the same time including in his latest works the presence of world maps and fragments of the world map.
	Teresa Pereda embarks on journeys, covers the geographical, social and economic distances typical of marginal cultures. Through the act of gathering she conciliates and adds to the social, regional, ethnic and linguistic diversity, she flies over fragmentation. When she goes back to the workshop with the load of earth, she processes it and includes it in the art piece. The maps, the histories and photos of the people she interviewed are linked to the earth, as well as the chain of words bound to these concepts. She adds to her work an interactive installation: “Rompecabezas Nacional” that invites us to build a country and proposes the transformation of the image of an impossible country into a possible one.
	Since 1970, the works of Horacio Zabala have bound together images with socio-aesthetic content. In her book El Arte o el mundo, published for a second time in 1998, she affirms: “Even though an image of the world is not a theory that offers a basis for the world, it is some sort of intermediary between the subject and the world that in an instant makes visible a conception of the world”. The inverted images in which subtle contours escape from regions of our country question the remaining and accepted vision of our country as an authentic one. They also show that there is not a single exclusive point of view.