Research carried out an analysis and a historical tour of the term assemblage, relating to technical processes such as conceptual object art: ready-made, objet trouvé, surrealist object, installation, assemblage and collage principle. The first meaning of the conception of the object as art, Salvador Dali generated, creating the term surrealist object (1935). However, the assemblage was coined by Jean Dubuffet in 1953 to refer to his series of collages "Butterfly Wings" and used to realize the first exhibition of the term "The Art of Assemblage" (1961) organized by William Seitz for the Museum of Modern Art in New York. The international artists who worked the assemblage as a way of juxtaposing objects with hybrid forms and settled the term, are Robert Rauschenberg combine painting with Jasper Johns assembled objects in his paintings. With accumulations of artifacts Arman, Kurt Schwitters with his "Merz" and Edward Kienholz with objectual scenery. The first argument of the thesis it wields William C. Seitz, Tom Flynn and Karin Thomas, think before the assemblage that the term is generic. And others like André Breton, Timothy Hilton, William Jeffett and Juan Antonio Ramirez, assume that the assemblage sustained avant-garde art of the twentieth century. The second argument of the thesis puts William C. Seitz, Simon Marchan Fiz, Timothy Hilton, Gerardo Estrada, Jose de las Casas and Octavio Paz, who before the assembly think it is a technical and conceptual approach. Others such as Arthur C. Danto, Hal Foster, Francisco Javier San Martin, William Tucker, Jose de las Casas, Elena and Anna Maria Guasch Blanch, speculate that the assembly is a current proposal in the art. The theoretical framework of the theory underlying the assembly with the strategy of deconstruction, palimpsest, allegorical impulse, effects of assembly and device ownership. In Mexico lack an assemblage literature that applies to our context. The local type of coverage is more art-object, with references to the exiled European Surrealists (1938) in the country, as Remedios Varo, Kati Horna, Leonora Carrington and others. The narrative features correspond to local and ex-votos, milagros or regional legends implemented in containers, boxes or glass containers with lids or hat, we built a sort of display of objects. In such a situation, the artistic movements of the "Rupture Generation", "New Mexicans" and postmodernity in the nineties, provide a substantial increase in construction-assembly. All this is captured in Mexico with the assembly of the precursors as Cueto Germain, Teodoro Gonzalez de Leon, Alberto Gironella, Alan Glass, Peter Friedeberg among others. Also, we analyzed the assemblages of contemporary artists among themselves relative to other producers, such as Gabriel Orozco, Melanie Smith, Damian Ortega, Enrique Jezik, Thomas Glassford, Diego Teo, Sophia Táboas, Eduardo Abaroa, Carlos Jaurena, Benjamin Torres between other. According to the analytical reference sample of thirteen National Museums exhibition in Mexico in 1981 to 2011, specifically four dominant types objectual: assemblage and nature postconceptual ready-made, assembly and art-object. Mexican artists to boldly applied the practices derived from the avant-garde and Western art brought new concepts and processes close to the consumer society in Mexico, remains today. Finally, we address analytically personal objectual series made ??for research, with the proposal to the articles of the industrial object. The work from 1990 to 2011 the local type are located in the assembly, according to planimetric factors in the construction and industrial neutral materials. We conclude that when analyzing more than 160 works of different artists, we discovered significant formal and conceptual contributions to the advancement of sculpture and object art, in keeping with the contemporary.