This paper analyzes the short story El museo de cera by the Chilean author Jorge Edwards. It describes, using specific criticism categories as point of departure, the way in which the museum is themed and the multiple relationships that can be constructed between the plastic space and the literary one. The use of fictitious places and spaces with historical identification, aim at the deployment of an interzone from which social criticism is projected, which pursues the generation of a twofold discourse: On one hand the set up of an episodic novel, and, on the other hand, the creation of a collection of (gallery or exibit), a museum-like space with instant photos of the particular history of the city and of the main character, both activities aimed at unloading socio-political, economic and cultural criticism. Thus, a museum sensibility is perceived in the text, which helps us to acknowledge the decisive importance of collecting, mounting, arranging and " curating" files which with the understanding that this activity becomes actual when working with memory. In Edwards' novel the museum adopts characteristics of a device that exerts force in the acts of selecting, gathering, separating and articulating such objects (works) based upon a nationalistic intention.