This is the most complete exhibition dedicated to date to the poet, visual artist, and feminist activist. It offers a reading of Vicuña's work from the South of America. It reviews sixty years of her production, highlighting her links with her native Argentina, the Andes Mountains, pre-Columbian textile memory, feminist struggles, and eroticism, as well as the demands for self-determination of indigenous communities.

The name of the exhibition represents an invitation to change our relationship with the earth: "Without humidity, there is no humanity", in the artist's words. Vicuña's creations are not only testimonies of the past but above all witnesses of an open future, just as this retrospective presents her work as an experience that is not definitive, but alive and in process.

At the beginning of the tour is his early work that has never been shown before abstract paintings, a work dedicated to Salvador Allende, and erotic drawings. Everything is poetry, each painting has a typed page next to it where the artist explains its meaning. Flower power is condensed in the painting Janis Joe, 1971, collection of Eduardo Costantini: Janis Joplin, Joe Cocker, naked women protesting, animality, Andean philosophy, blues, myths and folklore, the activist Angela Davis.

The site-specific installation Quipu menstrual (The Blood of the Glaciers), the only piece created especially for this exhibition, is presented in the museum's level -1 hall. It was conceived as a way of expressing support for Michelle Bachelet, Chile's first woman president. Four artists worked in dialogue with the artist and curator Verónica Rossi. The fleece hanging from the ceiling, on which images of native textiles are projected, still smells of sheep from three regions of the country, as Vicuña requested. The weavers, Guillermina Baiguera, Laura Morales, Adriana Pavic, and Ana Paula Méndez, kneaded it for two months in the museum.

Political activism is a constant in her work. Vicuña was born into a family persecuted for its ideas; he is the third generation of exiles. As an example, there is the nucleus dedicated to Tribu No, a Santiago group of young artists and poets with whom he sought political freedom to create. The Palabrarmas are sculptural, performative, and spatial poems, word games that reveal meanings. The Precarios are another constant in his trajectory: small assemblages made of wood, pebbles, feathers, or treasures washed up by the sea or the river, offerings or refuge for microscopic life. Vicuña calls them "ritual performances", "spatial metaphors" and "multidimensional poems".

"Dreaming Water" updates Vicuña's commitment to popular struggles, respect for human rights, and the importance of opposing devastation in a broad sense.