This article is concerned with presenting the murals about the young people who disappeared in the Orizaba-Córdoba region of the state of Veracruz, where forced disappearance has been a serious problem for years. The work elaborated by the artist Aldo Daniel Hernández, Fise, is analyzed as an act of resistance by the mothers of the Collective, as a struggle against oblivion and impunity, placing it in its context and analyzing the reactions of authorities and society. The analysis is based on the theoretical framework of the sociology of art proposed by García Canclini (2006) and taken up by Salazar (2011) for murals in Ciudad Juárez, focusing on the organizational process for the creation of such works, the ideological framework that may have conditioned them and the visual discursive strategies applied. A discursive struggle becomes visible between victims who seek to make injustice visible and preserve memory and other actors who seek to silence them.

This article proposes to reflect on the multiplication of illegal burials of human remains in Mexico at the beginning of the 21st century, based on its coercive power as a mechanism of terror, but also on its ability to promote collective action, challenge the official truth and act as an autopsy of the politico-social regime of precariousness and neoliberal inequality. Based on the experiences of the relatives of missing persons in search, the tensions not yet resolved around the right to the truth are raised in the face of the expansion of cruelty that exposes the irregular burial of the dead, and it is invited to think about the epistemological and ethical challenges faced by witness-researchers in these warlike landscapes.