As the context for the production and reception of Regina Jose Galindo’s work has expanded internationally her position within her practice has shifted from lone protagonist in the early performances produced in her native Guatemala, to orchestrator of the actions of others, to complete corporeal absence in the most recent sculptures, which paradoxically still invoke the human body. Here I trace how the internet and related digital technologies that have been key to the production and dissemination of Galindo’s work have affected its critical reception. In parallel I configure the symbolic ‘de’ and ‘re’ materialization of the human body in Galindo’s practice over the past decade through the thinking of the Argentinean Oscar Masotta, with specific reference to his text (from a lecture of 1968) Despues del Pop Nosotros Desmaterializamos/After Pop we Dematerialize. While Masotta uses the term in connection with Argentinean ‘media art’ (artists’ actions and performances realised specifically for the mess media) I outline a reverse process by which Galindo develops a radical, performance-based practice characterized by the graphic representation (and sometimes literal enactment) of violence read by the mass media as ‘sensationalist’ and by art critics and curators as ‘political’ or ‘activist’, rapidly achieves international success and then effectively ‘dematerializes’ as a live artist, rematerializing the art object in imitation of the human form, as commodity. The text draws on my conversations with the Galindo during the development of the exhibition Regina Jose Galindo: The Body of Others which I curated for Modern Art Oxford in 2009.