"Diego Bianchi was invited by the Museo de Arte Moderno de Buenos Aires to develop a project in one of its rooms. In conversation with the artist came the idea of provoking a meeting between his work and the institution's heritage. While Bianchi had not previously worked with historical works by other artists, the idea proved, in a sense, natural. He usually responds to the contexts where he works either by taking inspiration from the spaces to give them an unprecedented physical use or responding to the ideological conditions that invade them. In turn, his work has a material and formal resonance with several informalist and optical pieces that are pillars of the collection of the Modern. In "El presente está encantador", Bianchi nourished by the collection to transform it into a great work of his own containing Aldo Paparella, Ruben Santantonín or Emilio Renart, among others. The present thus devours the past, but the past also fails to pursue the present as a karma: certain artists in the collection blur Bianchi's authorship, as several of his objects could be mistaken for Alberto Heredia or an Enio Iommi. Surely some works never felt so comfortable and others did not understand how they ended up there. Spectators played a leading role in the hallway, but now they entered an evening through a back door thanks to a password that is alien to them. You need to become a play to try to get in touch. In this council, the past becomes present and the present is cloned like a chameleon in front of that past to get it out of place. Time is detolling. The sculpture no longer knows where it is or what time it is.".