This article will develop the problem of the image as a key to reading on the conspiracy against the nationalization of Chilean copper at the beginning of the seventies. By exploring the concept of damaged or degraded images that have been displaced from the line of historical continuity of the Popular Unity, two visual records will be analyzed: the declassification of documents related to the interests of the North American company Anaconda Copper Mining Company in 1970, and the records of the work Map of Chile (Anaconda) by the Chilean artist, Juan Downey, at the Center for Inter-American Relations (CIAR) in New York in 1975. Thus, through this encounter between image, art and politics, a discussion on the optical and political unconscious will take place, as part of a critical thought on the images of the Popular Unity.El artículo abordará la imagen del complot contra la estatización del cobre chileno en la década del setenta. Recurriendo a imágenes dañadas o degradadas que han quedado desplazadas de la continuidad histórica de la Unidad Popular, se abordarán dos registros: la desclasificación de documentos sobre la compañía norteamericana Anaconda Copper Mining Company en 1970, y los documentos de la obra Map of Chile (Anaconda) del artista chileno Juan Downey, en el CIAR de Nueva York en 1975. A través de este encuentro entre imagen, arte y política se desarrollará una crítica del inconsciente óptico y político como parte de las imágenes de la UP.