The writing of history is a battle for visibility. When a nation crafts its History, it does so through editing, choosing its heroes, battles and ideals. In her project “Not Propaganda”, Carolina Rito complicates Portuguese modern history by highlighting how this country erased Angola, Guinea-Bissau and Mozambique in editing its own story. In the process, Rito traces lines of convergence between the liberation movements in these countries, former colonies of the Portuguese Empire, and the 1974 Revolution in Portugal. However, the product of this research, which translates into curatorial practices and postcolonial thinking, is not a univocal counter-history. Instead we see a radical methodology that wants to liberate countries from the impulse to write logical and linear historical tales, a strategy that opposes what Western History violently imposes. Curation can have this emancipatory role, shaking up its traditional forms and subsequently shaking nations out of restrictive ways of interpreting their political endeavours. Whatever was silenced and rendered invisible is liberated in a revolution of forms, in which translation and curation are not transparent languages or vessels for ideology but complex sites of fusion and confusion. Untranslatability often leads to mediation and mediation to peace.