The article highlights the provocative work of the Chilean performance art collective 'Yeguas del Apocalipsis', created by Francisco Casas and Pedro Lemebel. Their performances often involved powerful imagery, such as dancing barefoot on a map of Latin America surrounded by shattered Coca-Cola bottles, symbolizing protest against colonial conquest and the ongoing disappearances of individuals in the region. Their work defied societal norms, merging art with political commentary, and they often faced censorship from institutions, forcing them to take their protests to the streets.

Casas, who now reflects on their shared artistic journey in an exhibition at the Museum of Fine Arts, recalls how they initially came from marginalized neighborhoods and brought their street art into the gallery space. He signifies the importance of their performances as a narrative that is accessible to all, despite the complexity of the themes they tackled. The collective's name, which translates to 'Maids of the Apocalypse', evokes both the urgency of their messages and the subversive nature of their art, as they challenged the status quo and advocated for marginalized communities.

The legacy of Lemebel, who passed away in 2015, and Berenguer, who followed him a couple of years later, remains significant in the context of Chilean art and LGBTQ+ activism. Their work not only pushed boundaries but also inspired future generations of artists to confront social issues through creative expression. The article ultimately serves as a celebration of their contributions to the fight against oppression and their commitment to portraying the struggles of those often left unheard in society.