Based on the critical review of the work 11 de septiembre de 2013 by the Chilean visual artist Alfredo Jaar, this article proposes a overview through different ways of representing the bombing of La Moneda Palace, Government House and symbol of political power in Chile, which took place on September 11, 1973 and marked the beginning of the civic-military dictatorship that lasted until 1990. Through the idea of the double suppression of the story of Ranciere, the theses on the history of Benjamin and of other works of contemporary artists, it explores the ethical, political and strategic possibilities that contemporary art has to address to the issues of memory, history and its fracture, of finding a language that avoids the emptying of traumatic events of a society, particularly to pave a space in which the past becomes dynamic, destabilizes and activates in the present.