During the military-civilian dictatorship in Uruguay, the government banned political parties and trade unions, censored the media, and persecuted, imprisoned, and murdered its opponents. Certain niches in the cultural sphere persisted and remained active despite that extremely adverse situation. Experimental poet, graphic designer, mail artist, performer, and networker Clemente Padín describes how many artists and groups produced work in spaces of transit—instead of in mainstream venues—which in turn led to analysis of the processes by which artwork was received. Production of this sort was particularly prevalent after 1980, the year when a referendum was put forth by the reigning dictatorship to reform the constitution and perpetuate its own power, but [the referendum] was widely rejected by a large margin. In the late seventies and early eighties, Padín participated in networks of artists that produced a flow of images, data, and information condemning human rights violations around the planet. In this document, Padín explains that his work was part of a strategy devised by Uruguayan and foreign artists who shared a single goal: not to work for museums or galleries, but to take to the street and turn the “viewer” into a “creative builder.”