Atlas de contravisiones [Atlas of Counter-Visions] takes the form of an atlas built through an intervention into Visionari, a graphic novel by José Miguel González Casanova. Its starting point is not narrative but visual: drawing is treated as a field of autonomous images that become triggers for new relationships between heterogeneous materials. From these fragments emerges a collection of photographs from different contexts and periods, including recovered analogue negatives, appropriated digital images, and fragments of a personal archive assembled over time. Their different origins are not brought together to create coherence, but remain distinct within the work. The atlas does not organise its materials into categories or hierarchies. Instead, it operates through formal affinities, shifts in scale, and visual tensions activated through montage. Each page becomes a space of encounter between different ways of seeing. Drawing does not illustrate photography, nor does photography translate drawing. Both occupy the same plane, and meaning emerges from the friction between them rather than being predetermined. The archive remains fragmentary, incomplete, and mutable, allowing each reading to reorganise its possible connections. In this sense, the book understands vision as an unstable field in which images do not simply represent the world, but reconfigure it through their relationships. The atlas is not a classification, but a device for bringing visual materials into encounter.