Due to the ambitious scope, the simultaneous character of some and the fleeting nature of others, it is difficult to reach an overall conclusion of all the events that occurred. Another matter which leads to confusion is the following phrase appearing at the

Localismos site: "The intention of Localismos is to show our city a different strategy for social rescue prepared by these artists."

I do not understand how a multi-exhibition proposal can benefit the inhabitants of the Center, unless the award to the best taco maker, or the purchase of odds and ends from the street sellers, is a new form of social rescue. The inhabitants were involved in, but were not integrated into, some of the projects, and the same people interested in taking part in the art events (or the cocktail party) were those attending the museum inaugurations. It is for this reason that the social interest in Localismos, is in the quality of stating the social phenomena observed and not in a deeper analysis of events in the area, of its people, or of its inhabitants’ needs and interest in participating.

However, Localismos had a basic value: the fact of being a kind of laboratory in which an experiment is carried out interactively, or in artistically reactivating an area with infinite aesthetic possibilities, where a series of social phenomena can occur which lead to matters of tremendous interest in contemporary art. This, in turn, can result in the Center being seen not only as a place where important museums and examples of historic architecture are brought together, but as a constant nucleus of contemporary artistic possibilities, due not only to its historic importance, but as a cosmopolitan area where Arabs, Chinese, people coming up from the country, tourists and Chilangos (natives of the Federal District) mix, a terrifically dynamic place possessing an order resulting from the chaotic inertia of its present condition. That is, in actual fact, the benefit and the legacy of Localismos, that of being an event bringing together media in which a regenerating gaze is turned towards the Historic Center. An urban space not only a good tourist centers worthy of luxury hotels, shopping centers and future residential paradises, but one into which current art can fit and complement an already-rich and complex cultural space.