My first acquaintance with the work of Catalina Chervin came in Buenos Aires in 1992, on a studio visit. Because this was my first visit to Argentina, I was not fully aware of the forms of contemporary art that were then being developed in that country. I was surprised to discover that Chervin’s work was primarily focused on works on paper, not objects or concepts, nor large expressionist canvases. Her sources emerged from a style of figurative drawing that appeared, at that time, unrelated to the trendy, politicized art being produced in the northern hemisphere. I was curious to know whether the kind of drawings, prints, and related works Chervin produced emerged from observation of actual figures skilled in posing or if they were figurations that came to her in the course of working. I soon discovered it was a bit of both.