It is 1985 and, for two years, León Ferrari and his partner Alicia have begun a long return to the country. Exiled in Brazil due to the infamous civic-military dictatorship in Argentina, and with residence in São Paulo since 1976, they will live intermittently in the city of São Paulo and in Buenos Aires until 1991, the year of their final return. It's 1985 and Ferrari creates La Basílica; In this way, he takes up a type of work - literary collage - in which he had ventured in 1967 to elaborate Words of Others (there will be four that he will carry out throughout his entire production). The Basilica has a theatrical structure and is also amphibious: it is the only one in this series of texts in which the artist incorporates images. The characters in this drama –Jehovah, Jesus, Adam, Eve, exterminating angels and Ronald Reagan, among others– emit delusional speeches that are nothing more than the reproduction, through quotations, of the fundamental notions of Judeo-Christian culture. Housed in the black bibliographical sources of the West, the fragments extracted from their original context reveal the world of horror that the West promotes. Fortunately, the demiurge Ferrari adds a certain sour humor and proposes burning cats to ingratiate himself with a god, or confuse the public with confusing sentences and contradictory smells. It is 1985, passion and fierceness are intact, and Ferrari builds this basilica –this two-headed monster of images and words– demonstrating how the bloody letter enters and how all the great anguishrs of each era comply politically with their masters.

This edition includes an introduction and a posface after an investigation with the sources consulted by the author.