In an article published in the newspaper Zero Hora (Porto Alegre, September 2, 2000), critic and art historian Neiva Bohns contests an article by Paula Mastroberti entitled “A frágil torre da arte contemporânea” published on August 19, 2000 in that same newspaper. The first text, which identifies its writer as a “visual artist and writer,” denies that an installation created by Gláucis de Morais for Torreão, an exhibition venue, can be called art. Concreto, the installation in question, consisted of a wobbly castle made out of playing cards. In her article, Mastroberti explains that the work was made using cards printed especially for the piece; the cards did not have numbers on them, only images of hearts of the sort used for that suit in standard playing cards. The idea, according to the artist, was to make “a castle of love” or “a tower within the tower.” On the basis of this work, Mastroberti writes off any contemporary work of art with a conceptual bent. In her view, such art consists of “misunderstandings that produce the ruses of an era that celebrates an utter lack of criticism.” Neiva Bohns refutes that that attack entails, perhaps obliquely, aggression against the theoretical and practical premises of Torreão, “a private space that is periodically opened to the general public,” and therefore “in no way a ‘closed’ space or club.” Torreão was opened in June 1993 in Porto Alegre, the capital of the state of Rio Grande do Sul. Elida Tessler and Jailton Moreira—the founders of Torreão and engines behind the initiative—envisioned it as a center of cultural debate and an independent space for exhibitions.