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The work of Katia Sepúlveda draws from decolonial theory with a transfeminist and mestizo feminist bias, meaning that it transcends the idea of ‘woman’ as a political subject and white feminist theory, discussing gender, race, class, and subjective practices. The artist works with videos, performances, collages, drawings, photographs, and sculptures. At the 32nd Bienal, she displays two works: Dispositivo doméstico [Domestic Device] (2007-2012/2016) and Feminismo Mapuche [Mapuche Feminism] (2016). The first one has three parts: a series of collages using "Playboy" magazines from 1953 to 2000, the video The Horizontal Man (2016), and an installation. The collages show how the visual language of desire is constituted, whereas the video and installation broaden this critique and demonstrate how the magazine, as a device, has contributed to creating an imaginary for the mechanisms of the body regarding design, technology, household devices, and architecture.Feminismo Mapuche, on the other hand, is an event, a live dialogue between two activists, Margarita Calfio, from the Chilean Mapuche people, and María Celina Katukina, from the Yawanawas community, in the State of Acre, northern Brazil. Taking Bolivian communal feminism as its starting point, the artist questions whether there would also be a Mapuche feminism, adding other struggles, other enunciation spaces, and other cosmopolitics to the term feminism.