en Cuevana. Architectural plans, graphics of abstract forms that gradually become recognizable images, photographs of facades, descriptive texts. Perel returns to the site where the Clandestine Detention, Torture, and Extermination Center (ESMA) once operated, but this time his approach is different. Not only because he enters from a different physical location than the one that represents his entry into the social imaginary, but also because his approach aims to contemplate, no longer the construction of a new place, but the destruction of space. This annihilation, Perel seems to be telling us, brings down much more than columns, cement, and metal beams.
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