In the early 20th Century, Alfonso Reyes’ and Pedro Henríquez Ureña’s intellectual contributions were pivotal to the cultural appropriation of the Baroque in Latin America. However, Lezama Lima also develops his concept of the Baroque in dialogue with European Art historians. Thus, the article examines chess in the poem “Un puente, un gran Puente” [A bridge, a great bridge] (1941) as an allegory of World War II. The theoretical framework includes Neo-Baroque procedures explained by Severo Sarduy.