When Sebastián Gordín began constructing miniature stage sets in the late 1980s, his friends nicknamed him “the bricklayer.” Twenty years later, in one of those intellectual upgrades that sometimes occur in the art world, the writer Graciela Speranza defined him as a postindustrial homo faber. Yet Gordín had continued building in the same vein: mini buildings, mini cinemas, mini stage sets made of wood, Plexiglas, and the like. In these setups, the fantastic was ever present: here a futuristic laboratory in which little men could be seen working at computers, there a bunch of children running