Abstract

This dialogue centers on the artwork and legacy of Chilean artist Lotty Rosenfeld, including such solo projects as One Mile of Crosses on the Pavement and her collaborations with CADA (Colectivo Acciones de Arte). It argues for a queer feminist reading of Rosenfeld as it considers her anti-dictatorship spatial practices, her intimacies with the writer Diamela Eltit, and her political and aesthetic commitments.

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Author notes

∗ Above all, we thank Lotty Rosenfeld. We are also grateful to Mel Y. Chen, Diamela Eltit, Cristòbal Lehyt, Blanca Missè, and Alejandra Coz Rosenfeld.