This article explores some theoretical principles that can serve as a contribution to a possible aesthetics of marginality. For this, the information refers to the marginality in the context of the recent Latin American theory, and it is addressed, in the first place, what the Colombian filmmakers Luis Ospina and Carlos Mayolo called pornomisery, as a fundamental epistemic-critical notion. Later, the issue of marginal signs and their reception will be addressed in light of the experience in a certain territoriality of contemporary Chile, specifically, in the peripheries of Santiago. Finally, it will focus on the implications that the project of an aesthetics of marginality has for the construction of political identities.