Pink is “the faggot color par excellence.” So Jorge Gumier Maier declared in the catalogue text for the 1997 group exhibition “El tao del arte” (The Tao of Art) at the Centro Cultural Recoleta in Buenos Aires. It was the last one he curated while serving as the director of the Centro Cultural Rector Ricardo Rojas at the Universidad de Buenos Aires, where, less than a decade earlier, he had founded the dimly lit, hallway-like space as a gallery; the small yet transformative gesture would effect radical change in Argentinean art. Whereas previous art-historical shifts had been tied to explicit