In the works of Gabriel Chaile (Tucumán 1985) there is a critical-poetic encounter between anthropology, the sacred and its rituals, the political and the pre-Columbian communities of South America, read in an artistic key and with a certain eccentricity and sense of humor. Chaile develops his anthropological and visual investigations based on two key concepts that run through his body of work. These are the engineering of necessity, which consists of, through art, creating objects and structures that collaborate in improving the conditions of a given extreme situation; and the genealogy of form, which implies assuming that each object, in its historical repetition, brings with it a story to tell, which is recovered and updated in relation to a new context. The artist uses both axioms to create sculptures, make paintings and build large-format installations that make visible and give voice to the different communities overshadowed by history and power structures. Chaile behaves like a visual anthropologist: he studies the context that surrounds him, deconstructs it into new morphologies, charges it with -a new- meaning and throws it into the world in the form of objects and images, inviting us to reflect on the relationship between each other. the others.