This text proposes a review of some landmarks exhibitions of Latin American art, and at the same time the construction of identity categories of some artistic practices of the sixties and seventies. Based on a review of the histories of exhibitions such as "Global Conceptualism" (New York, 1999) or "Heterotopias. Medio siglo sin-lugar: 1918-1968" (Madrid, 2001), and of art centers such as CAYC (Centro de Arte y Comunicacion de Buenos Aires), we follow denominations that map a web of relationships that operate as legitimizing marks of a quota of difference from the countries of the former peripheries. The text proposes the importance of reviewing all those details that shaped, for example, the notion of ideological conceptualism which were unmarked from its initial logic, dated at a specific time and continued to operate in expository logics after more than twenty years. Finally, it is proposed to pay attention to the wefts and murmurs that have formed a solid platform for legitimizing some discourses of power in the history of Latin American art exhibitions.