This article discusses the work of Crispín Portugal (1976-2007), a writer from El Alto, in the context of the investigations against poverty and racism vis-a-vis the cities of El Alto and La Paz, and the anti-market publishing movement initiated in Argentina which produced books with cardboard covers bought from cardboard collectors. Portugal and other original writers initiated a publication project channelled Yerba Mala [Weeds] cartonera, with its own blog, Disseminating Bolivian literature that you have not access to publish by other means. Through the revision of a Port’s short story (Almha la Vengadora) that portrays a woman wrestler, Almha, a chola from El Alto whose name in the ring is ‘the avenger’, this article proposes the configuration of an alteño neoavant-garde indigenism comparable to the avant-garde of Gamaliel Churata. Towards this end, special attention is given to El Alto -the largest indigenous city in Latin America- placing it as key to the development of a neoavant-garde that returning itself from the failed neoliberalism looks at a modernity that Reclaiming the Aymara indigenous claims to invent other forms of future. This article discusses the work of Crispín Portugal (1976-2007), an altestrian writer, in the context of the fight against poverty and racism facing the cities of El Alto and La Paz, and the anti-market movement that began in Argentina by producing books with carton covers purchased from cartoners. Portugal and other indigenous writers started a editorial project called Yerba Mala cartonera, which has their own blog, to disseminate Bolivian literature that does not have other means of dissemination. Through the review of a story from Portugal (Almha La Vengadora) describing a fighting force from El Alto, whose name in the quadrilateral is ‘the venker’, this work raises the shaping of an ancient neovanguard indigenism comparable to the vanguard of Gamaliel Churata. To this end, it pays particular attention to El Alto – the largest indigenous city of Latinoaméria – by placing it as a key scenario for the development of a neovanguard that feeds on failed neoliberalism to shape a proposal for modernity that restores the indigenous aymara past to invent other forms of the future.