Teresa Burga’s 1974 series of Theater drawings reveal the artist’s interest in breaking down and examining the mechanics of art-making. Adopting a systematic approach to creation, in the margins of each work from the series, Burga inscribed the dates and time spent on the piece—tracking her hours as if clocking in and out of a job. Literally drawing parallels between artistic production and other forms of labor, images like Sin Título/Untitled (from the series Theater) 04 (1974) faithfully reproduce the covers of periodicals using crosshatching and pointillist pencil marks. With their emphasis on tracking hours and marks made, Burga’s Theater series anticipates later conceptual projects like Perfil de la mujer Peruana/ Profile of the Peruvian Woman (1980–81), which worked methodically with data, statistics, and information systems to provide a comprehensive representation of Peruvian women.