Abstract
This text analyzes the exhibition Recovering beauty : The 1990s in Buenos Aires (2011 ), curated by Ursula Davila -Villa at the Blanton Museum of Art at the University of Texas at Austin. From a central thesis : the recovery of a type of beauty in the transformation of the visual arts in the artistic area of Buenos Aires , the Argentine art exhibition considered the nineties through the curatorial model implemented by Maier Gumier Gallery Visual Arts of Ricardo Rojas Cultural Center UBA . In this sense, one might ask what the historical assumptions in the sample projected to establish a retrospective look at the Red and , in turn , what certainties emerge from curatorial device implemented on a global stage high visibility as the Blanton were . It is of interest to me to reflect on the construction of knowledge in curating this exhibition which tends to position the Red between dichotomous pairs ( political art / art light , legitimacy / marginality , visibility / invisibility , etc.) that neutralize their artistic potential and seal one comment on trajectories started previously in the eighties.