To speak of “Latin America” is to seek a frame of negotiation between those for whom it remains a pragmatic grouping, those who regard it as a psychic and geographic zone of experience, and those for whom it serves little other purpose than as a postcolonial mirage. And it’s certainly true that in the case of artists Ana Mendieta (Cuba, 1948–1985) and Cecilia Vicuña (Chile, b. 1948) a negotiation of zones takes on a particularly haunting mirage. Resisting the alluring and troubling “coherences” of African and Indian postcolonial returns in contemporary art (T. J. Demos, Return to the Postcolony: Specters of Colonialism in Contemporary Art, Sternberg Press, 2013), this paper argues that the zone of Latin America remains decidedly incoherent. The work of Mendieta and Vicuña conjure a cacophony of ghosts through the active resistance of easy conflations of Indigenous and non-Indigenous postcolonial experience. Through examining the hospitality that we must show to ghosts, Derrida’s marranismo reminds us that the guest speaks of a justice to come. In understanding the Latin American experience, this paper argues, the guest and the ghost share more than a phonological likeness.