Faced with what would looks like a recurrent stage of amnesia and skepticism about the aesthetic eurocentred debate, the Latin American artists and critics still allow themselves to practice the possibility of dialogue with the backside of their circumstances, extolling utopia as a reactive strategy against the exhaustion of the global models. Lo que las imágenes quieren, vídeo desde Hispanoamérica (What the images want, video from Spanish America), comprising twenty videos by fifteen artists from different Latin American nationalities is, without any doubt, a very well resolved exhibition demonstrating the richness and ability of the Latin American contemporary aesthetic discourse and its unquestionable critical vocation. With an independence resulting from the lack of big budgets and the difficult access to the technological universe of the latest generation, a situation that is common to all these artists because they belong to an underground cultural environment of marginality and stark exclusion, the pieces gathered together enjoy a great virtue: to be converted into polished metaphors (both beautiful and yet horrifying), that warn about the drama which the Latin American contemporary culture is immersed in at present. All the works gathered here are converted into a luck of critical text, with plenty of infinite possibilities, that revise and investigate the main conflicts of the sociocultural panorama of this part of the geography which others have falsely tried to globalize. Between them they establish an appropriate dialogue, marked by common interests that redound in a clear position showing how the Latin American artistic thinking conveys to an openly critical posture, showing a longing for social transformation and a way of making things that convert the adversity of the circumstances in aesthetic virtue. It is critical of the hegemonic model of the western culture, the revision of the local stories, warning about the tragic destiny of a continent, fiercely questioning the persistence of dictatorship, reporting the authoritarianism as the only politic and discursive option, removing the stereotypical identities, and suspicious of the false democratic models, cruel vicissitudes of emigration and exile and the proposition that complaining is a weapon for replying and complaining, they look to be the conceptual axis on which are articulated each and every one of these poetical points. The Latin American artist knows about paradoxes, deliriums, utopias, indifferences and also about fare, lots of fare. That is why the work of these fifteen video artists is a true story, which cuts head on and so disconcerts, for the pain because of the scar which had before left the injury. All of them in their way and facing a dialogue, revisionists of their political and cultural context, they draw a very real landscape of what could be interpreted as a theological paradigm of resistance: resisting to live, simulating to keep but also shouting to let the world know that where the fire was, there the ashes remain. Another common element to all these proposals, and that in some way helps to distort the semantic thickness and the furious polysemy of these pieces, in its simplicity what invoicing it referees, staying convey this austerity of means in the configuration of a visual emphatic discourse which is emotionally devastating. There is not just an emotional interest in them, as it happens in a great part with the aesthetics discourse centered in the video and registered in the circuits of the ¿mainstream¿. In its defect, it is corroborated by a manifest inclination to encode contents and activate the discursive qualities of the figure of speech. To such effects, and with the intention of establishing a possible cartography with clear rates of coherence, the exhibition suggests a conceptual tracing that covers four thematic nuclei, in which, according to the accurate opinion of the organizer, these poetics perform in m...