As the context for the production and reception of Regina José 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. This article traces the ways in which 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 the symbolic ‘de‐’ and ‘re‐’ materialisation of the human body in Galindo’s practice over the past decade are configured through the thinking of the Argentinian Oscar Masotta, with specific reference to his 1968 lecture ‘Después del Pop Nosotros Desmaterializamos/After Pop we Dematerialise’. The article draws on conversations between the author and Galindo during the development of the exhibition ‘Regina José Galindo: The Body of Others’ at Modern Art Oxford in 2009.