The following project explores a series of questions about art and revolution in the Nicaraguan social-historical context: How might visualities contribute to the production, or materialization, of “concrete political” subjects? What formal tactics were leveraged in conversation with historical contingencies to develop such a radical aesthetic enterprise, of humanist character? How can we re-evaluate visual forms as both objects and subjects of historical transformation — and thus as critical social technologies? What can we excavate from art objects about the inner circuits and interiorities — the spaces of subject formation — of imperialist domination and anti-imperialist struggle? Do images circulating (with)in the world work on the world . . . make revolution?