The aim of this article is to rescue the anthropophagy in their paradigmatic relations with translation, and historically intends construct a continuity with the Semana de Arte Moderna of 1922 and the Manifesto Antropófago of 1928. In these sense, it’s important to see anthropophagy as a critical movement based in terms of “devouring”/“digestion”/“transformation” because if art (as an object) is at the same time a critical-theorical process and a artistical-creative one, when we translate, this act can be defined in these terms. That implies also rescue a double relation of translation, located between the “act” of translation and the “think this translation act” in a movement based on auto reflectivity that supports the paradigm constructed in Translation Studies. The consequence is put the translator in three sites of speech: translator, critical and poiesis. In this sense, translation is defined as creative process (subject/times/space), and as a critical-theorical one.