In this cabaret performance, Jesusa Rodríguez poses a satiric comment on the commodification of the posthumous image of Eva Duarte de Perón by literature, film, and pop culture. In a direct comment on the American musical "Evita," Rodríguez proposes an "alternative" history of Duarte de Perón's final days and the ultimate disposal of her corpse, playfully clashing historic, real, fictional, virtual and anachronistic conceptions of time and place. "In the face of Latin America's current social, economic, and political crisis, in an era of globalization and profound impasses, we can't help but ask ourselves a pressing question: who was Eva Perón, and what happened to her corpse?": a satiric comment on Western society's priorities, meshed with original and traditional tangos and milongas (performed by "el Gaucho del Wonder Bra" Liliana Felipe), these questions articulate the piece as a set of three interconnected skits. The performance starts with a radio show featuring biographies of key female public figures in Latin America (sponsored by "Jabón Radical" (Radical Soap, which "cleans and re-establishes social order"). The second segment is the enacted story of the "final events" in Evita's life: Eva (performed by Rodríguez) bought a radio station to counteract her detractors' versions of her life and death, and "reenacts" her final days with the aid of her mother (who is about to give birth to President Carlos Menem, and wants to get the access code to Evita's bank accounts), a nurse, and a foley assistant. The third and final skit takes us to a Mexico City's Customs office, where corruption, drug dealing, and political coups brew, resulting in a change of government that intends to use Evita's body (held in customs on its way to the U.S., where Madonna intended to use it as a promotional object for her movie) as sorts of flag for the 'incorruptibility' of the new "national body."