TWO DAYS AFTER the death of Chilean dictator Augusto Pinochet (in power from 1973 to 1990) on December 12, 2006, a memorial to the women victims of the military dictatorship was inaugurated in the center of Santiago. Impressive in size at 13 feet wide and 7 feet tall, the plaque was the result of the tireless efforts of a group of women who campaigned for over twenty years to see the memorial materialized. Made of semi-transparent acrylic, the design resembled a barcode representing a concealed identity and was dotted with empty squares echoing the black-and-white photographs kept by the relatives of those who were executed or disappeared. The memorial bore no list of names and many considered it cold, perhaps too abstract and difficult to understand. But this did not matter at the time. The work was finally in place. It was large. It was important. The memorial was the result of the mobilization of a group of women who came together in 1992: the Comité Pro-Monumento a las Mujeres Víctimas de la Represión (Committee for a Monument to Women Victims of Repression). However, the idea only gained traction a decade later, in the context of Chile’s increasing openness to memorialization processes, a cultural shift that was nonetheless rife