This article examines the work Chile o muerte (1974) by Germán Marín and Armindo Cardoso as an iconotext of political resistance that exposes the tensions of Chilean society in the 70’s, in order to make visible the country’s catastrophe around the Military coup of September 11, 1973. Chile, like Sisyphus and its fatal sentence, is stalked by ruin when a threat (re)appears in the status quo that challenges the course of the country and awakens the citizens. The plastic dimension made explicit in the photographs by Armindo Cardoso, and the plot dimension, worked on by Germán Marín, take center stage as an inter-artistic editorial project, which seeks to ward off the violence of the Pinochet dictatorship, based on a curatorship that exhibits interventionism. of which Chile was affected in the years of Popular Unity.