This research focuses on the emergence and institutional consolidation of a photographic aesthetic in Peru that, at the time, was understood by various actors in the field as being related to that of the Düsseldorf School. Through an analysis of certain works by Peruvian photographers (Flavia Gandolfo, Roberto Huarcaya, Luz María Bedoya, Juan Enrique Bedoya, Philippe Gruenberg, Edi Hirose, Solange Adum, Andrés Marroquin, and Marco Garro) and their relationship with the aesthetic principles of the German school, the interaction between artists, institutional agents, and the local art market is examined. The methodology is divided into three chapters: one focused on elucidating the formal characteristics of the Düsseldorf School, another contextualizing the Peruvian photographic panorama during the 1990s and the early 2000s, and a third conducting a comparative analysis of these works,...