This chapter argues that the question of the relation of modern art to the people has changed, and that the artist has ceased to address or invoke the people as a ‘constituted force’. It suggests that this will remain the case for contemporary art until the invocation of the people is recognized as the reproduction of a consensus. The chapter analyses Colombian artist Clemencia Echeverri's video installation entitled Treno, and observes a ‘scream’ lamenting the forced disappearances happening in Colombia and a collective voice singing the names of the dead thrown into the waters of the Cauca River.