No te creo parts from that same criminalizing prejudice that emanates from a patriarchal justice that tends to question the testimonies and the facts declared by women for the benefit of their male aggressors. This performance originates from what Galindo calls “double rape”: A situation that refers to the invasive forensic examination that any victim must undergo after having suffered a sexual assault and appeals to the obligation to tell their story to strangers over and over again, reliving the trauma each time. No te creo turned the exhibition hall into a clinical space equipped with an old obstetrical examination chair. In front of it, several doctors examined the artist in shifts following the protocols enabled for this purpose.