Alvaro Oyarzún is an artist untroubled by fear of narrative excess. Master of the prolonged title, he dubbed his recent exhibition in the Museo Nacional de Bellas Artes “Historía del Dibujo de A a L” (A History of Drawing from A to L), with the subtitle, presented here in English for brevity, “Seven ways to visit the museum crossing twice round the same rotunda, or how to confront all these years’ improvidence once and for all.” The exhibition was indeed installed in an entrancing nineteenth-century rotunda. But any expectation that Oyarzún’s artistic dialogue would meander through the whys and