During the political violence of the 1970s and 1980s, many artists in Chile, as in most of the southern cone countries, chose to produce highly coded works that hid their political message so as to escape detection by government censors. Eugenio Dittborn’s response to the Augusto Pinochet regime was to develop a series of “airmail paintings,” works that could be folded up and circulated through the postal service. When the painting arrived at its exhibition venue, it was unfolded and displayed alongside the envelope in which it had been delivered. Thus Dittborn’s work makes transparent, and provides an alternative to, the normal channels of circulation and distribution, an issue of particular relevance to artists working under systems of government repression and/or outside the American/European exhibition mainstream. The portraits that have been transferred from newspaper photographs in Sin rastros make references to the “disappeared,” victims of political violence. Memory, a key theme in much of Dittborn’s art, becomes a moral imperative in an oppressive political climate, and the title here, which translates as “No Tracks,” can be read in terms of Dittborn’s stated intention to “salvage memory within a political climate that attempted to erase virtually every trace of it.”