Raznovich sat down to write Efectos personales (Personal Belongings) in 1975, her bags packed and apartment emptied, as she waited to set out, alone, for a place she did not know. Nothing prepares one for exile. Casalia Belprop, her character, searches for her personal belongings among unclaimed luggage in some unknown location: "When you go on a long trip without knowing whether you'll return, you take along so much ridiculous stuff. The things you really need you leave behind." Elegant and filled with self-importance ("My admirers call me Diva"), Casalia initially seems merely put off by the inconvenience of displacement. Did she bring her red crocodile luggage or the red, white, or mauve set? Where is the attendant? Before long the growing sense of exile disporients her, she loses her sense of place, color, self. Casalia does not know if she is coming or going. Has she arrived? Is she still in transit? Where? "Day or night? Before or after? (Diana Taylor, Stages of Conflict: a critical anthology of Latin American theater and Performance, 261).

Efectos personales was prohibited in Argentina and has never been performed there, even though the ban has long since been lifted.

There is no video documentation of this installation.