It is my intention in this paper to present a series of individually composed descriptive sections, outlining the three fundamental factors at play in these shamanic “healing spaces.” Such a “healing space” in the scope of this discussion can be understood as the space of dialogue, negotiation, and encounter that is manifested between healer and patient within an ayahuasca ceremony. Endeavoring to establish a sense of Place, I will begin with a brief history of Iquitos, and an outline of its more modern composition. Continuing from this, I will turn to a sketch of Persons, including mestizo shamans, Shipibo shamans, and Western seekers as they participate in ayahuasca ceremonies. This discussion will entail an overview of the etiologies of illness and a general outline of distinct cultural understandings and expectations that inform the participation in these ceremonies for many members of each cultural group. I will then examine the nature of the ayahuasca brew in terms of cognitive psychology, in an effort to understand how the psychoactive substance plays its role in the establishment of a cross-cultural healing space. Finally, I intend to propose Michael Taussig’s notion of Montage in terms of ayahuasca shamanism (1991), and Joanna Overing’s notions of the shaman as a “maker of worlds” (1990), as anthropological models that reach toward a theory of shamanic action in these cross-cultural healing spaces. The varied forces at play in the history of Iquitos, the diverse cultural backgrounds of those persons involved, and the striking phenomenology of the experience of ayahuasca, all find a powerful, and mutually resonant, metaphor in the ideas of collage, montage, and bricolage.