The 2nd Iberoamerican Lima Biennial took place in 1999. It was Darío Escobar’s first international exhibition, where he showed the early results of his research into the Baroque and pop culture in contemporary art. The linchpin for this whole point of departure was one sculpture in particular: a McDonald’s paper cup gilded with thin layers of gold leaf reminiscent of Viceroyal sculptural practices. This statement came from an understanding of the Counter-Reformation as something that arrived in America together with the evangelization that started in the sixteenth century. The Baroque was an extremely anticipated warning of what was to come: globalization and the primacy of a saturation of form. Let us remember that, along with other artists and scholars, Darío Escobar (Guatemala, 1971), Adriana Varejão (Brazil, 1964), and Arturo Duclos (Chile, 1959) were the ones who opened the path to this discussion in the 1990s. With the works shown in his solo exhibition at the Livia Benavides Gallery, Two Opposing Mirrors Already Make a Labyrinth, Escobar recovers the same arguments to address a present where luxury is directly linked to violence. In 2025, twenty-six years will have passed since that first exhibition, coincidentally, also in Lima.