In Naufus Ramírez-Figueroa’s practice, performance and narrative are interwoven through the use of sculptural objects that link pre-Columbian civilizations, seditious brotherhoods, evangelism, and imperialism. In an unsettling dream-like fashion, many of the artist’s works operate as non-narrative fictions that depart from his personal experience of Guatemalan history—particularly the country’s civil war that ran from 1960 to 1996 and in which members of his family took an active part—but always distancing himself from a documentary take on history. Thus, the artist creates fable-like situations, which mix memories and visions from his childhood with a dose of pathos and humor, to address cultural and political events such as the war’s genocide of Mayan populations, the infiltration of Mormon missionaries in the country, and the contemporary followers of apocalyptic conspiracies.