This issue of the Bulletin of the Chilean Museum of Pre-Columbian Art includes twelve works on art and shamanism, making use of a variety of tools, methodologies, and concepts. Next, the global use of the word shaman, shamanic practice and its applications to archaeology are considered, and an attempt is made to clarify the relationship between art and shamanism. Then, each of the articles collected in this volume of the Bulletin is briefly commented on. Happily, after overcoming various challenges, including the pandemic and a change in the Editorial Team, this volume coincides with the Shamanism exhibition, Visions out of time, held at the Chilean Museum of Pre-Columbian Art. The actions that fall within the shamanic sphere are diverse and variable. Each culture applies a name in the language that corresponds to it. Thus we find behique , mara'akame , machi, and many others. The term shaman offers us the opportunity to use a single word to refer to the ritual activities that lead to the ecstatic state; a category that encompasses the diversity of practitioners who share a series of characteristics, some of which will be listed below. Shamanism occurs in small-scale societies, with low hierarchical manifestations. Consequently, and from a certain point of view, it would not be correct to call complex societies with clear evidence of hierarchies such as those of Chavín, Moche, Wari or Tiwanaku shamanic. However, it might be advantageous to identify shamanic elements in the art of these cultures, in efforts to clarify certain aspects of the iconography that might otherwise remain obscure.