The article is developed based on the hypothesis that the Silueta’s series (1973-1979) of Ana Mendieta (1948-1985) can be thought through the relation with the kaleidoscope. On the one hand, as a paradigm of thinking about the dialectical image present in Walter Benjamin's thesis, and on the other, as a metaphor for sensible understanding the series created by the Cuban artist. The text is grounded in the thought of four of these works and relates them with reflections presented in the writings, mainly of Georges Didi-Huberman and Walter Benjamin.