With its radiant geometries, the show “Disorder” by Andrés Sobrino (1967) imposes an attractive contrast to the palatial style of the Smart Gallery and Alvear Avenue. “The work is the sample”, clarifies the artist. In other words, each piece is “a substantial part of a system” that, in fact, appears at the entrance to the gallery as “a kind of inventory”. This comprehensive concept is expanded when Sobrino clarifies that he works with unfinished works or that started others. This is how the concept of “Disorder” was generated. Connoisseurs of the artist’s work identify this “inventory”, neatly represented on a large gray plane with its usual shapes (rectangles, squares, diamonds) and dominant colors (green, black, yellow, white, blue). However, Sobrino assures that his system is corrupted, that this predetermined order tends to become chaotic when fragments of his own story intersect with quotes from authors he admires. “Disorder” unabashedly exhibits the genuine passion for the art of the early Russian avant-gardes and that of Mondrian. But the artist creates a new order.