Nearly a century ago, Sigmund Freud found a German word that, in his view, expressed the psychological experience of "everything wonderful, horrible, fantastic, appalling". On the one hand, das Unheimliche represents certain alterities that have to do with the links and boundaries between human and non-human, and between different humans, especially in cases where there is some doubt or ambiguity of an ontological nature. These cases include categories of objects-people, for example: automatons, dolls, wax figures, puppets, photographic or cinematographic representations, prosthetics, body fragments, golems, cyborgs, some monsters, corpses, ghosts, and animals. But they also include categories of person-objects: epileptics, physically and mentally ill, primitive, slaves, foreigners, migrants, homosexuals, and women, among others. On the other hand, das Unheimliche can characterize the concerns that arise from encounters that create confusion between past and present, which are often linked to particular places (ruins, haunted houses, certain landscapes or sites that evoke memories or deja-vú, "non-places") or the experience of temporalities (globalization, postmodernity). In any case, the term das Unheimliche remotes us to doubt and hesitation in the face of a relationship. It expresses the strange feeling of being in front of something or someone who appears to be normal, correct, or plausible, but by revealing himself as something out of place, non-categorizable or non-acceptable, threatens to unmask the instability of identities, essences and categories themselves. Although this began to be analyzed in the field of psychoanalysis, its connotations are so broad that it is also found in philosophy, aesthetics, politics and anthropology. This conceptual migration from psychoanalysis to other areas of the social sciences and, in particular to art, constitutes the main interest of this work.