Abstract
This text investigates the curatorial project Genetic Anthology, on the artistic production of Nicanor Aráoz, which took place in October 2016 in the UTDT (Buenos Aires). Developed by Inés Katzenstein, Lucrecia Palacios and Alejo Ponce de León, the show redefined the modes of work and exhibition of contemporary art through the “discursive turn of the curatorship”. Through sessions in which researchers, writers and artists participated, the project generated different biographical, historical and theoretical leaks about the artist and the aesthetic signs that make his work: counterculture and queer visual politics, monstrosity, abject consumption, etc.