Galindo stands out from that geocultural and geopolitical environment in which she unfolds to project herself as the bearer of voices, experiences, memories, and testimonies of the vulnerable subject. As the one who in any context was bound to the fundamental sense of pain, joy, disillusionment, illicit legislation, fear, faith. Therefore, she becomes a performer and spectator, author, and anonymous of the same process. Galindo intervenes in the public space and the historical memory from her body. Through it, with manifest rage, she articulates and evidences the problems and disabilities of her context. Her body becomes a complementary part of this performative and testimonial praxis developed by her. She is a witness and victim of the event and invites us to participate in its performativity. 

Regina Galindo’s work involves an urgency that derives from the generation of an essential, reflexive statistic. Her work Combustible is an example of this. In the city of Santo Domingo, in the Dominican Republic, eight immigrants of Haitian origin push a collective cab during their routine, without gasoline. For this, she has assumed a particular social group to exercise the action as an integral part of her practice. She reveals herself as the intellectual author of the process, perhaps as the victimizer subject who subjugates the “other.”. She thus evidences continued exploitation of immigrants seen as the supposed driving force for society to move forward. At this point, Regina lends her body as the articulator of a hegemonic action while her authorship dilutes. She drifts towards anonymity and becomes part of the orchestration of the performance.