This illustrated publication examines the symbolic and often surreptitious modes of artistic production that took root amid the brutal military dictatorships resulting from the US­-backed Operation Condor in South America. Where artists could not explicitly represent violent realities, they turned to allusive and public inter­ventions to mount dissent. Produced on the occasion of the exhibition The Counter-Public Sphere in the Condor Years, this publication features an essay by artist and exhibition curator Nicolás Guagnini on the work of CADA and Lotty Rosenfeld in Chile, Antonio Dias in Brazil, and Horacio Zabala in Argentina during the late 1960s and 1970s, alongside an essay by curator Tobi Maier on the role of the flag in Dias’s work.