With this work we intend to demonstrate that the novel Una novelista en el Museo del Louvre (2009) is structured from the rhetorical and intertextual resource "ekphrasis metaleptica", category coined by Luz Aurora Pimentel (2012); that configures a museographic distribution in which the story is constructed as a script, to desacralize the insular political discourse, while installing the novel, in its plastic and narrative double, as insurrectionary discourses and critics of the Cuban status quo. The intertextual or intermedial relation established between the literary and visual representation, then, is of a contributory nature because the images that are evoked through writing are transformed into iconotexts that increase the iconic value of the discourse.