ABSTRACT
Entrada Prohibida was an effort to pursue the critical possibilities of evocation as a documentary approach. This chapter explores a form of documentation of that which has become difficult to see as a result of the private nature and seclusion of ports, as well as of the rapid rhythms defined by structures of economic efficiency that shape their functioning. Many of the elements that make part of the political economy of the contemporary port such as the seclusion from the city, worker’s alienation, and the presence. Recognizing the history of the critiques of representation in anthropology and cultural studies as well as to debates in art criticism and photography regarding definitions of documentary and art, one sees that even though the tension is still very much alive, the range of experiments, border crossings, and nurturing pollutions continues to grow.
