This article presents an exhumation exercise of two performances carried out by the disabled Chilean artist Lorenza Bötnner in Berlin (1982) and Barcelona (1992). In this way, it underlines Lorenza's artistic training and analyzes how her performative bet granted political agency to her “disabled” and transgendered body. On the other hand, using a critical disability studies framework, it problematizes other exhumations to Lorenza's body and work, which places Bötnner as a trans and crippled body within the genealogy of dissident artists in Chile.