In Paz Errázuriz’s practice of photography, coexistence with the subjects she is portraying is fundamental in order to establish a relationship of trust before making any exposures. An example of this method can be found in her series La manzana de Adán [Adam’s Apple] in which the artist documented the everyday lives of a community of trans people who lived in the brothels located in the cities of Talca and Santiago during the dictatorship. As on other occasions throughout her career, in this project photography is allied with writing, specifically with texts by Peruvian writer Claudia Donoso. Errázuriz was able to complete La manzana de Adán thanks to a Guggenheim fellowship.  During the five years (1983-1987) the project lasted Errázuriz and Donoso’s immersion resulted in a vivid testimony of the sexual identities of dissidents under the military dictatorship.

In the pages of the photobook that followed, published in 1990, text and image combine to give voice to Evelyn and Pilar, two sisters who worked as prostitutes, who discuss their experiences with regards to marginality. In this photograph Evelyn appears at a windowsill, the nexus point between the dark interior from which she emerges and the exterior that is visible to the camera.