After the triumph of “No” over “Yes” on the referendum for the endorsement of the peace accords in Colombia, a significant portion of the Colombian population organized a series of marches and demonstrations with the purpose of pressuring both the negotiating team and the Colombian government into implementing said accords in as little time as possible. As part of the aforementioned mobilizations, Colombian artist Doris Salcedo produced Sumando ausencias, a collective “mourning action”. The making of Sumando ausencias created a spontaneous communitas that, across its different levels of action, lead people to mourning, the generation of empathy amongst its participants and the resistance to overcome forgetfulness. This article aims to link the concepts of individual memory and collective memory through a review of literature, ethnographical interviews and an autobiographical ethnography, the last methodological choice implies that the interactions of the researcher along the making of the work of art will also be part of the object of study. Therefore, based on each one of the aspects previously mentioned, this article aims to demonstrate that Sumando ausencias was an instance of the interaction between individual and collective memory, and generally as an artistic approach to such situation, it became an effective political action.