In 2004, the president of Argentina authorized the creation of a "Museum of Memory" at ESMA—the site where most of the clandestine detention and torture mostly took place. It is a site, as artist Marcelo Brodsky writes, that is so charged with "historical density" it is not clear how to use it: A traditional museum doesn't seem right, somehow. The matter of commemorating disappearances—by definition undocumented—is a kind of paradox. There is a double absence here, after all: The absence of the dead, amplified by the fact that the lineaments of death are unclear. Where did it happen? When? "My homage is to [those who disappeared]," one person writes. "In the hopes that their tragic death was not in vain, and that these events will never again be repeated."