Elda Cerrato's *El sueño de la casita propia* (The Dream of One's Own Little House) is a multi-part project the artist returned to across the 1970s, its earliest known iteration being a 1972 Chinese ink drawing titled *Hacia un perfil del arte latinoamericano* (Toward a Profile of Latin American Art), with later acrylic-on-canvas versions (III and IV) following in 1976. The series belongs to Cerrato's broader Geohistoriografía method, in which the outlined map of Argentina or the wider South American continent becomes a device for making political tension and collective identity visible. In each iteration, a modest rural dwelling sits within the mapped territory, framed above by a dense field of overlapping, anonymous faces — the collective social body pressing over the land. Read together, the title and imagery position home ownership not as a private aspiration but as a class-loaded, politically contingent dream, staged against the instability of Argentina under military rule in the early 1970s. Made four years before Cerrato's own forced exile in 1976, the work reads, in retrospect, as already anticipating how precarious the idea of a home — and of a nation — could become.