Abstract
The extraction and relocation of the pre-Hispanic monolith known as “Tlaloc” from San Miguel Coatlinchan to the National Museum of Anthropology (Museo Nacional de Antropología) in 1964 were captured through the production, circulation, arrangement, and storage of different types of images. These images have been organized using different processes of montage that sought to somehow fix the event and, which are therefore deeply political. Following Roland Barthes’ invitation to “listen to” images to access their “obtuse sense”, I resort to ethnography as a way of addressing the resonances and the affective ties that cannot be contained within the edges of their frames and insist on interrupting any effort towards their logical and temporal arrangement.
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