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This research attempts to present a journey through the different methods New-Spain art historiography has approached the corporate portraiture phenomenon inscribed in the female monastic context, displaying a general overview of the issues that tend to take place when addressing the series of calculated or conventional strategies formulated expressly for this set of representations. Thus, it goes beyond totalitarian genders such portraitures have agglutinated, such as “crowned nuns” or “religious painting of the 18th century”. In addition to it, the article questions prejudices around an alleged pictorial quality in function of the mimetic potential and the decorative features of these representations, encouraging new research axes evidencing their own variables, behaviors, and relations from particular theoretical, formal, corporate, and experiential approaches.