The Amaya AR Project is an Augmented Reality documentary; through my own personal experience from within the Nicaraguan diaspora, I bring to Toronto the story of Amaya Coppens, a Belgian-Nicaraguan political prisoner incarcerated in 2018 and still in jail as of March 21, 2019. The documentary is experienced in the physical space of Lisgar Park in Toronto through a hand-held mobile device and headphones. In this thesis document, I argue that different communities and sectors in Nicaragua are part of what Michael Hardt and Antonio Negri define as the commons, which network to form the multitude leading the April 2018 civic Uprising in Nicaragua. I have compiled a media archive of viral photos and sounds from Nicaragua since April 2018, drawing from impromptu citizen journalism including viral images and sounds circulated on social media, television, newspapers, magazines and radio as events unfolded. Through a research-creation methodology, I experiment with this source material in Augmented Reality (AR). The approach to editing material in the archive is informed by Hito Steyerl’s essay “In Defense of the Poor Image,” leaning into the glitchiness, blurriness and low-quality of the viral content to express the affects of the situation in Nicaragua. The installation of the Amaya Project in Lisgar Park in downtown Toronto supports an embodied experience and solidarity between locations through the medium of AR. By evoking two spaces and realities at the same time, AR is used to creatively bring radically different worlds together, evoking my contemporary experience in the Nicaraguan diaspora.