The purpose of this essay is to analyze Claudia Andujar’s works, built within the struggle of the Yanomami people. This analysis will be based on the “postmodern” turn, where we have a clash, enunciated by Flusser (2002), between the agency of the photographic device and the photographer’s counteraction to it, as the ideal way to establish photographic narratives with meaning. That do not just mimic reality, but stablish a “post-photographic” mimesis (FONTCUBERTA, 2010, 2014a, 2014b). The “becoming” in this analysis {+}