Following the El Tao del Arte exhibition (Buenos Aires: Centro Cultural Recoleta, May 13–June 8, 1997), Pacheco describes Galería del Rojas’s character during its beginnings: the curatorial policy of Jorge Gumier-Maier (its director), the characteristics of the artists it gathered, and the place it occupied within the local art scene. He mentions the year 1992 as a turning point in the history of this space in relation to an exhibition by the gallery's artists that took place at Centro Cultural Recoleta, and which, in coinciding with the International Art Critic Workshops, was seen, valued, and reviewed by foreign art critics visiting the country. From that moment on, “the ‘Rojas’ fad” caught on. Exhibition centers, such as the ICI, the Banco Patricios, and Galería Ruth Benzacar incorporated some of…[its artists] into their schedules. Certain collectors began to buy their works and the critics recorded their shows.” Finally, the critic points out, the exhibition in the Recoleta represents the “successful balance between Gumier’s tenure and…[one] panoramic view of one of the most important group of artists in the last ten years.”

Marcelo Eduardo Pacheco, art historian and collaborator of Magazín Literario’s visual arts section, is one of the most important personalities within the Argentinean art milieu. He has written numerous articles in national and international publications and is presently the curator in chief of the Museo de Arte Latinoamericano de Buenos Aires (MALBA, Colección Constantini). The Centro Cultural Ricardo Rojas, founded in 1984, is a cultural extension of the Universidad de Buenos Aires in which various activities developed, such as courses, conferences, film series, and the like. A few years after it opened in 1989, the Galería del Centro Cultural Ricardo Rojas was created in the university campus’s entrance hall and was directed by artist and art critic Jorge Gumier Maier. Shortly thereafter, Magdalena Jitrik joins him as an assistant.The reference to poetics of the past, such as Pop art, minimalism, Concrete art (under extremely personal reformulations), besides elements of kitsch, have helped to characterize the resources of expression of such artists. Toward the end of the decade, the artists who made up “el grupo del Rojas” were grouped, in a generic manner, as the representatives of the “1990s Argentinean art.”This article is relevant because it offers a reading of the trajectory of “El Rojas” from inception as an “emerging” space up to its “climactic” moment.The exhibition in the Centro Cultural Recoleta—which the article refers to as a turning point in terms of the visibility of the artists from the Galería del Rojas—is El Rojas presenta: Algunos Artistas (August 26–September 6, 1992). The Centro Cultural Recoleta is engraved in Buenos Aires’s traditional exhibition circuit, along with possessing a large public influx.The ICI (Instituto de Cooperación Iberoamericana), Centro Cultural de España is one of the most important contemporary art exhibition spaces in Buenos Aires within the traditional gallery circuit. During those years it was directed by Laura Buccellato, present day director of the Museo de Arte Moderno de Buenos Aires. Ruth Benzacar is the most important contemporary art gallery in Argentina. The artists who participated in the El Tao del Arte exhibition are: Fabián Burgos, Nicolás Guagnini, Jorge Gumier Maier, Graciela Hasper, Fabio Kacero, Omar Schiliro, Pablo Siquier, Sergio Avello, Elba Bairon, Jane Brodie, Fabián Burgos, Feliciano Centurión, Alberto Goldenstein, Sebastián Gordín, Miguel Harte, Agustín Incháusti, Alejandro Kuropatwa, Fernanda Laguna, Benito Laren, Luis Lindner, Alfredo Londaibere, Liliana Maresca, Zaliante Mussetti, Ariadna Patorini, Marcelo Pombo, Cristina Schiavi, and Marcelo Zanelli.In connection to this article, please see the text written by Jorge Gumier-Maier, titled “El Tao del Arte,” the prologue of the exhibition of the same name (record 769509).