Mendieta’s films have attracted the attention of a large public, yet even among academics these productions have often been considered only as documentation of the artist’s performative actions, rather than creation. They were, however, intended to be experienced as artworks unto themselves. Laura Wertheim Joseph, who collaborated with the artist’s niece Raquel Cecilia Mendieta on the first filmography of Ana Mendieta, observes: “[...] she intended the viewer to experience her work in future time, neither the slides nor the films had an evidential or supplemental relationship to the performative action. Mendieta understood her work to reside in different material, temporal, and spatial registers.”