Among Stern’s most significant accomplishments in the decade following the end of World War II are her Dreams (Sueños), a series of photomontages that she contributed on a weekly basis to the column El psicoanálisis le ayudará (Psychoanalysis will help you) in the popular women’s magazine Idilio. In addition to the photomontage, each dream, sent in by a reader, received an interpretation from sociologist Gino Germani and psychologist Enrique Butelman, writing together under the pseudonym Richard Rest. Between 1948 and 1951 Stern created 140 Dreams for publication in Idilio. However, only forty-six negatives of these works survived and were printed by the artist independent of the magazine. Stern approached her assignment through a filmmaker’s lens, delivering an entire narrative within a single frame. The central figure of each photomontage is female (the dreamer), and the situation one of conflict. The encounter of avant-garde aesthetics and exploration of the female unconscious confirms Stern as a critical figure in the hybrid history of photography and feminist psychoanalysis that gave focus to a new discourse on the politics of gender in Argentina.