In 1929, the Chilean state produced the Álbum de tejidos y alfarería araucana for the Ibero-American Exposition in Seville. Rather than being an original work, the album reconfigured pre-existing materials; the textile illustrations originate from Margarethe Ewerbeck's Álbum de Tejidos Araucanos (1920), and the pottery illustrations from Ricardo E. Latcham's La alfarería indígena chilena (1928). This article analyzes the editorial operations of selection, fragmentation, and recomposition that defined the volume, wherein color emerges as a transversal criterion. This analysis is supported by handwritten annotations, comparisons between copies, and the tension produced by the construct of "the Araucanian," which homogenized distinct traditions under a single definition.