Abstract

The writing addresses the role of «invention» within the Popular Unity project, in terms of modes of associativity that sought to improve worker's living conditions. This can be appreciated at the level of its images, understood as interfaces that give rise to meeting points and unprecedented trajectories. Based on this, we propose other ways of stringing together stories about the Popular Unity, showing that images function as records of the multiple that emerge within a complex and changing social formation. The first section introduces a conceptual approach to the problem, while the second one focuses on two UP landmarks that inscribe invention as an articulating axis for redefining the social: the collection «Nosotros los Chilenos », by Quimantú (1971-1973), and the UNCTAD III building (1971-1972).