In this script, Terry Holiday expands her vital creative impulse of the trans world by sublimating her gender postures from a world of dreams and hallucinations. The textile technique of patchwork becomes a perfect medium for the Mexican artist, in her first appearance ever in an Art Fair, to conjugate pieces of her obsessions, bringing together disparate desires and aspirations, transforming it into a fascinating world of tableaux vivants and sequins. The richness of the materials used by Terry Holiday is one of the strengths of her highly experimental artistic practice; her aesthetic approach goes in many directions, a sort of catharsis for the images that populate her life and our time, which for her is also a form of activism to transform contexts and imagine futures and hope. This is how She also offers us the possibility of contemplating and participating in a world made invisible by petrosexorracial (Criado) capitalism.

Along the same lines, Errázuriz’s Manzana de Adán series (1981-1987), is based on a series of portraits of transvestite prostitutes in Chilean brothels, undercovered from reprisals from the Chilean Dictatorship. In those rooms that resembled cells, she would find beings who dreamed of freedom. Errázuriz, absorbs the characters with emotional depth and returns them in defiant declarations, recovering the dignity of the portrayed. As the artist states, her ‘Photography brings me closer to others’, serving as an empathetic mirror of the captured souls.

In sum, Dissident Fantasies is a conjunction of two fundamental artistic stories about gender identity in Latin American visual culture that unfold creating an atmosphere of vindictive liberties that oscillates between the dreamlike and iconic, the intimate and exuberant, the subtleties and the resistances.