This project questions the definition parameters of the photographic sign. The city of Mexico is explored by myself to build my own version of the city’s history in order to articulate myself in it. Through this process, a historical archive is created that constitutes in a series of tiny pieces, creating a platform for the future. What is seen are images lacking clarity, interrupting the flow of information. This is a contradictory act in itself -taking photos in an analog system, processing them and reducing them to a support that is used to look through a microscope. Producing a timeless effect that questions the passage of time, the idea of photography as a mirror of reality vanishes and opens up a field of cultural imaginary. The photograph is proposed as a weak object because of the correlation between visibility and invisibility, suggesting a de-construction of visibility. The word "de-construction" is used intuitively, intending to make an analogy that opposes to build which is not to destroy, but to disassemble pieces little by little as a method of analysis. If the print is the origin of photography, as Jean Marie Schaeffer says, fixed in a support to collect information, what happens when this information is distorted? Our variables of defining the photograph are displaced as we have to uncover a series of filters before reaching the image and identifying the subject. We are left with the photographic code, this is what all images have in common. The image, thus, becomes a memory in a poetic and metaphorical way.