Many are the Schibbolethsof our modernity: ethnic, linguistic, cultural, and religious traits that should ensure the uniqueness of peoples and regions become traces of identification of the undesirable other. Schibbolethsthat could serve as a denunciation of an urgent need for hospitality become obstacles to its practice. Doris Salcedo, a Colombian artist invited bythe Tate Modern in London in 2007, creates her Schibbolethto denounce historical processes of erasure of this other, especially the colonized, subalternized, exploited, expelled, exterminated other. The artist creates an installation that dives into the bowels of the institution, appropriating it through the indelible mark of denunciation of the historical violence produced by and across borders. The work is a trail of pasts, but also of possible futures, a fissure that separates and unites at the same time. It will be through this clash of civilizations united by the fissure that we will begin, alluding to Jacques Derrida’s thinking as a methodology, especially his philosophy of traces, in a critical dialogue with the work and becomings