The article reviews the Harte, Pombo, Suárez III exhibition (Buenos Aires: Fundación Banco Patricios, from November 4–27, 1992). It describes the characteristics of the works presented by each one of the artists—Miguel Harte, Marcelo Pombo, and Pablo Suárez—, pointing out that this is the third collective exhibition they produced together, since the first one took place in 1989 at the Centro Cultural Ricardo Rojas, and the second, in the Centro Cultural Recoleta, in 1990. It stresses: “although at the beginning [this trio] was headed by Pablo Suárez, it now shows a swift growth in the works and finishing of Pombo and Harte.” On the other hand, in terms of the space in which the exhibition took place, the Fundación Banco Patricios, the text underscores that “it is aware and ponders what happens in both public places [the Centro Cultural Ricardo Rojas and the Centro Cultural Recoleta], where artists throw themselves into experimentation.”

The Fundación Banco Patricios was created in 1984 and was one of the important exhibition spaces during the decade of the 1990s. It closed its facilities in March 1998, with the bankruptcy of Banco Patricios.Marcelo Pombo (1959–) and Miguel Harte (1961–) have been identified with what began to be called “grupo del Rojas”; i.e., those that the Galería del Centro Cultural Ricardo Rojas,promoted between 1989 and the early1990s.When it comes to understanding the 1990s Argentinean art, the Centro Cultural Ricardo Rojas acquires a very important role. Founded in 1984, it 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 joined in as an assistant.What began as an underground space within the Buenos Aires artistic scene immediately developed great visibility between 1991 and 1992. The artists from “El Rojas” began to be included into the programs of key exhibition spaces, such as the ICI (Instituto de Cooperación Iberoamericana), the Centro Cultural de España, and the Galería Ruth Benzacar.and the Banco Patricios Foundation.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.”Pablo Suárez (1937–2006), an important Argentinean artist with a long and acclaimed career, was linked to the Galería del Rojas since inception, as stated in this article. This document witnesses the joint trajectory of this “group” born, as such, in the Galería del Rojas itself.Art critic Fabián Lebenglik reviewed the exhibitions that Galería del Centro Cultural Ricardo Rojas housed from inception through his articles in the visual arts section of the Página/12 daily.Please see, in relation to this article, the one published by Miguel Briante in Página/12: “Cuando los costados encierran el centro. Un líder de la periferia y dos de sus jóvenes seguidores establecen dos o tres nuevas pautas para ver lo común” [When the sides enclose the center. A peripheral leader and two of his young followers establish two or three new guidelines to perceive what is common] (December 19, 1989, record 770086). Also, please see the exhibition catalog Harte, Pombo, Suárez III, as well as the invitation to it (records 769239 and 769423).