The local avant-garde movements in Argentina active during the forties and then in the sixties started to be seen in a new light during the nineties, they were being reconsidered by art institutions and art historians. In this context some curators began to trace connections between those movements and contemporary production. Curator Carlos Basualdo presented an exhibition at Apex Art in New York—The Rational Twist, 1995—, where he traced a link between Argentine abstract painting in the nineties and the legacy from Concrete Art from the forties. Curator and art historian Elena Oliveras, then advisor for the Art Program of Banco Patricios Foundation, set up dialogues between emerging artists and main figures active in the avant-garde art scene around Instituto Di Tella during the sixties. Her curatorial approach opened up debates about the relation between art and politics and made evident vectors of rupture within Argentine art. From this perspective, it is possible to think about a genealogy of contemporary art in Argentina which emerges strongly in the sixties and continues to be projected through different periods through its connection with politics, sexuality and urban culture.