Abstract
The social outburst of 2019 in Chile was a revolt that put the production of images at its center. In the context of street protests and human rights violations, the Yeguada Latinoamericana performance project, created and directed by Cheril Linett, executed five works. This research aims to understand the processes that have allowed these performances to circulate successfully in the artistic field of Latin America and Europe, developing a sociology of curatorship that takes the Chilean social outbreak as an axis of analysis.