The TAFOS (Talleres de Fotografía Social) project had the participation of researchers Tiffany Fairey, Bettina Paredes, Raúl Valdivia and Carlos Zevallos Trigoso. In 1998, the TAFOS Project Documentary Fund" (1986-1998) was donated to our university, since then being called the TAFOS/PUCP Photographic Archive." All the photographs included focused on self-representation, which allowed the construction of a group identity and visuality. The singularity of the TAFOS project allows this experience to be an example that refutes the traditional history of photography. This publication is an effort to promote interdisciplinary dialogue, reactivate the archive, and update the discussion about it. Therefore, it starts with four main questions that researchers try to answer. Does the TAFOS photograph have formal/plastic peculiarities, or those linked to its visual economy, that affect/influence the use that can be made of it in an investigation? What conditions emerge during the various recontextualizations of images that you have undertaken as part of your investigations? How does memory operate when the TAFOS photograph is confronted with its authors and other research subjects? Does it allow reflections that account for changes in certain narratives linked to the way of seeing the past? What is the epistemological capacity of the TAFOS photographs in the production of knowledge on the margins and for the destabilization of hegemonic visualities?
