Among the cartographies are maps of the networks formed by the privatized mass media companies in Argentina, which show how local economic groups and their international connections control and manipulate information. These were created by La Comunitaria TV, a journalistic collective that organizes open transmissions of neighborhood activities, whose "counter-programs" may be seen in the cinema cycle of the exhibition. On the other hand, the plastic artist Azul Blaseotto has been occupied since 2000 with the privatization of public lands in the urbanization project of Puerto Madero in Buenos Aires, and since 2004 has worked on the labor situations of two Argentinian dockyards, one State-run and the other recovered by the workers.

Outside of the immediate territory of the plastic arts but intimately bound to a work of esthetic thought and action about, and by way of, the images, is the Ferrowhite project, a self-managed museum in Bahia Blanca dedicated to preserving the everyday life of the neighborhood and the memory of the railroad workers of the old port of Ingeniero White, along with the installations of Situations, a collective of militant researchers. The former exhibits a recreation of machinery upon 8 wagons that have a "history of painted cardboard", the history of the vicissitudes of the apparatus of labor and the decadence of "what once represented the Argentinian agroexport model". These cars are utilized with a didactic purpose in the museum and turn out to be highly effective to the narration proposed by the exhibition. For its part, Situations exhibits the eloquent correspondence carried on by Creischer y Siekmann throughout the course of project Ex Argentina. Among them, the reflections listed under the title of "Policies of the Image" meticulously analyze a photograph published by the newspaper Pagina 12, where a picketer can be seen with his face hidden, being filmed by a foreign woman, a tourist. The image accompanied a sarcastic article on "picket tourism" as one of the phenomena unleashed after the crisis of 2001. It resulted in a photomontage that displayed an entire series of mechanisms of manipulation of information. In its analysis, Situations places the notions of observer and observed in conflict, as well as the politics of constructing an image. Paradoxically, that photograph, which deals with a situation that never occurred - in which a foreign woman observes the local picket phenomena - is the one that the Secretary of State chose to use to promote this peculiar exhibition on their website. It's a curiosity that, perhaps by chance, seems to ridicule certain criticisms of the project that do not disassociate it from the fact that it originated within the agenda of a cultural agency, much like the German one.

"Normality" and its mother project Ex Argentina, without doubt unleash this and other points of conflict regarding the independence of the political expression of art, the efficacy of esthetic activism and the phenomena of "normalization" within the artistic institution, among others. However, all of them are themed and each has been placed upon its own worktable by the organizers since the beginning. If many of the works in the exhibition can be questioned based on esthetic terms, for the lack of subtlety regarding the metaphors that they wield, or for their communicative difficulties (unless one has the luck of finding oneself in the presence of the authors of the pieces in question and obtaining its "explanation" first-hand), the effort made to offer diverse levels of interpretation and to expose the enormous (sometimes excessive) volume of information in play is recognized. With its hits and misses, it is an exhibition that compels us to change from our given positions, and that is always welcome.