The article analyzes a transnational network of artistas that involved El Café Teatro La Mama, one of the main experimental theaters of New York, and its Bogota subsidiary, from 1961 to 1972. Three main lines make it possible to narrate the establishment, development and rupture of said network: the theater as a cultural practice, the relation between avant-garde art and politics, and the emotional dimension of the process. The main conclusion of this research is that there has been a prolific correspondence of ideas around some paradigms of contemporary vanguard theater but, at the same time, an ambivalence between artistic romanticism and political values.