The installation is, from its origins, an unstable concept; this means that their collision requires a position which will necessarily be partial. As Mónica Sánchez Argilés explains, the following will be considered in this text: [...] a type of three-dimensional artistic event, mainly concerned with the manipulation and activation of space in the process of linking elements, traditionally separated, in an articulated whole, and concentrated on the idea of interaction between the spectator’s physical, subjective and temporal work and experience (Sánchez Argilés, 2009). Regardless of the structure of meanings that form part of the narrative specific to each production, the use of the unique and direct experience of a corporeised viewer — understood as an indispensable part of the work — led to those practices being regarded as having a possible political nature. Boris Groys (2008), for example, refers to installation as the product of selection and concatenation of options, a logic of inclusions and exclusions whose material is the very space: confluence and relationship space, decision making space. It is therefore linked to the processes of repoliticisation of the art. From this perspective, the chapter reviews some of the theoretical approaches that challenge the political status of transitable works, addressing two paradigmatic facilities, produced in Latin America at the end of the 60s and early 80s in contexts characterised by radicalisation of violence. Faculty of Fine Arts