Margaret Harrison brings back the figure of Marilyn Monroe aiming to explore her life, love, body, mind and relations of power in a more positive light. Harrison arranged an installation from different representations of the actress that demonstrated new and different sides from which perceiving the artist in life and death. Most striking was the adaptation of dead’s Marilyn police picture, completely lifeless, not pretty, instead of the golden girl that the public had known. This image brings us back to reality and erases the sophistication built around the actress as a Hollywood product. Harrison establishes a dialogue among representation, narrative and reality and reports that the Hollywood narrative cannot be disassociated from the person who represents it.