Abstract
This paper focuses two exhibitions, Atlas. How to carry the world on one’s back?, curated by Georges Didi-Huberman and Images and histories. Argentina 1848-2010, curated by Diana Wechsler. Both consider artistic production as a montage, in which things, places and time can be reconfigured. Both also approach the experience of images not on the basics of chronological and logocentric order, like in classical historicism, but rather on the basis of a recognition of images’ density of meaning and expressive power capable of destabilizing the epistemological patterns of art history.