In a meticulous examination of the critical models with which art is thought in Latin America, "Ruptura y continuity" provides a broad overview of the meta-theoretical evolution of Latin America since its formation during the 1930s and 1940s as a model. integrationist cultural identity, and its formula as "Latin American art" between the fifties and seventies, until the critique of said model between the eighties and nineties.
Gabriela Piñero focuses especially on the transformation of a critical theory of the South that, despite responding to the imperialist threat from the North as an advance of Western modernity, had inherited the same premises and notions of her project. Ramírez, Mosquera, Richard and Camnitzer will be part of this "new critique" that, for Piñero, aims to reconsider the logic of action with which Latin American art is conceived politically, that is, with a view to reconfiguring its models of politics based on of a complex relationship of rupture and continuity with respect to the conceptualizations, dichotomies and logics that go through the discussions around Latin America.