Objects do not have three dimensions only, but as many as we look for: it all depends on our ability to interrogate them. Since 1960, a stone sculpture of a manned sea lion skin raft has positioned itself in the discourse of Chilean prehistory, especially of the semiarid. Deposited in 1939 in a German museum, it has been remembered for decades by Chilean archaeology through written, graphic and sculptural substitutes. The summation of stories, images, narrations and interpretations around this work has created new virtual objects that are different from the original. This essay revives their biographies, collectors, transfers, trips, replicas, material features, rules of composition and similarities with other pieces. The object-raft will be judged based on the relationships and imaginary that have been woven around it.