Art critic Fabián Lebenglik (b. 1961) reviewed all the exhibitions of those artists who made up what would be called “the Rojas group,” those whose activity on the Buenos Aires art scene was linked to the gallery at the Ricardo Rojas Cultural Center; for example, Agustín Inchausti (b.1970).The Ricardo Rojas Cultural Center occupies an important place in the understanding of Argentine art during that decade. Founded in 1984, it is a cultural extension of the Universidad de Buenos Aires that offers various activities, including courses, talks, films, etc. In 1989, a few years after it was founded, the Galería del Rojas was created within the entrance hall of the university facilities. It was directed by the artist and art critic Jorge Gumier Maier; shortly after, Magdalena Jitrik joined him as his associate.Although at first it was a marginal space within the Buenos Aires art scene, it began to take on importance between 1991 and 1992. The artists of “el Rojas” began to be incorporated into key exhibition spaces, such as the ICI (Instituto de Cooperación Iberoamericana), the Centro Cultural de España, the Galería Ruth Benzacar and the Fundación Banco Patricios. References to the trends of the past, such as pop art, minimalism, concrete art (in most personal reformulations), as well as elements of Kitsch, have served to characterize the expressions of these artists. Towards the end of the decade, the artists that comprised the “Rojas Group” generally came to be known as the representatives of the “Argentine art in the 1990s.” The Espacio Giesso in Buenos Aires was one of the “alternative” exhibition spaces during the 1990s. Many of the “Rojas” artists showed works there, just as this article reports. Lebenglik reviewed this exhibition, using the same words contained in this text, in the article published by the Página/12 [Page/12] newspaper on April 28, 1992; it was located on page twenty-five of the visual arts section, under the title “Un pintor de armas tomar” [A Painter to Be Reckoned With].