Member of the Agrupación de Plásticos Jovenes (Youth Plastics Group), Janet Toro participated in street actions against the Pinochet’s military dictatorship. Her performances appeal to the memory, boundries, and policies of the body, especially the ones regarding women’s place in a patriarchal society. In Carmín (Carmine) (7'15’’, 2013), the artist wears red lipstick and then rubs 1000 white papers on her lips. The beauty of the first moment fades, and her stained face gets a clown face expression. Her lips feel the pain of friction - an echo of the women and girls trafficking, that the painting evokes. In the performance El reflejo (The reflection, 2015), carried out by having the Museum of Memory and Human Rights in the background, a group of immigrants questions their identities through a set of mirrors which return the image of the passersby. There is a continuity between the performance Este es mi cuerpo (This is my body) at MAC in Santiago, which expands with This is my body, which takes place between Praça da Alfandega and the Memorial building, during the opening of the Biennial 12. Emerging from the body of the buried artist, photos of several murdered women appear. From this place, Janet heads to the Memorial and crosses her architectural rhetoric carrying a painting that challenges us.