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Working off the ramifications of the notion of expansive field by Rosalind Krauss (1979) that later reaches Garramuño (2009), Brizuela (2014), Cámara and Aguilar (2017) and Klinger (2008), we observe how the artistic endeavor in Veronica Stigger expands the literary field to meet elements of the visual arts, theater, and cinema. In Os anões (2010), Stigger plays around with the rules and keeps her ironic and unpredictable tone. Through a distorted depiction of daily life, she goes about disrupting genre and language. In Opisanie Swiata (2013), the reader is confronted with an experimental poetic narrative through the seductive use of geographic letters, photographs, postal cards, ads, menus, personal letters, and a narrative brimming with references to characters, authors and works belonging to Brazilian modernism, all in a trip from Poland to the Amazon. Our interest lies in observing how Stigger's creative process, in these works, goes through a performance of language. [ABSTRACT FROM AUTHOR]