The present article analyzes the transfer of narrative structures, specific for encryption and the veiled, and discursive elements of gender to the art field. Developed through an installationist art work articulated from the appropriation and intervention of the stories writer Katherine Mansfield and from the museistic representation of the flower arrangements deposited as sediments on a stack of books of modernists women writers. Thus, structural features of the modernist narrative, such as textual fragmentation and open-ended, are then conjugated with others features more controversial as pastiche, appropriation and plagiarism. In this way, the art work -whose axis is situated in the critic to the ways of producing knowledge, from the sexual and gender differentiation- creates counter-histories based on expanded practices of reading and writing.xis is situated in the critic to the ways of producing knowledge, from the sexual and gender differentiation- creates counter-histories based on expanded practices of reading and writing.