This work comparatively analyzes three modalities of self-presentation (Amossy, 2018) that drag artists from the city of Córdoba perform on their Instagram profiles. We are interested in understanding the meanings that shape individuals and are sedimented in the reels of this platform as audiovisual discourses that combine performance and audiovisual language. We start from the characterization of our contemporary society as a hypermediatized (Carlón, 2019) society of spectacle (Débord, 2012) in which individuals partly control the means of communication to display themselves. Along these lines, we decided to analyze the profiles of @Furiamakeup @Lolamentaok and @Camioneratravesti "in production" (Verón, 1993) because we found particular drag styles that can indicate ways in which the forces of discursive hegemony (Angenot, 2010) establish centers and peripheries as topological spaces where both subjects and discourses can be located. Thus, while Lola identifies herself as a drag with an explicitly political performance that retrieves the abject in queer literature; Furia offers to teach a know-how regarding makeup techniques; and, Camionera presents herself combining different styles and genres to entertain: tutorials with a comic tint, a series of interviews she conducts with other drag queens, along with her performances on the stage of local gay parties. These last two modalities, which have a greater number of "followers" and "comments," allow us to indicate that the communication of a know-how and entertainment are central in the discursive economy that operates on this socialization platform.