On 24 March 1976, the Argentine military staged a coup d’état and established dictatorship. To eliminate radical left activists, the armed forces perpetrated mass civilian murder until democratic transition in 1983. The Mothers of Plaza de Mayo emerged, protesting their children’s disappearance by mobilizing portraiture to make visible familial rupture and indict the state. This article examines the archival exhibit, Esta se fue, a esta la mataron, esta murió (2017), which displayed trans women’s vernacular photographs and family albums from the 1970s–1980s, the same years as dictatorship. Analyzing the exhibit’s curatorial choices and the photographs’ material and haptic qualities, this article reads the exhibit alongside the Mothers’ iconic activist visual culture and national narratives of family loss. In doing so, the author suggests the exhibit renders trans sociality familial and familiar to a national viewing public, thereby reinterpreting Argentine history by installing trans subjects as proper subjects of national mourning.

中文翻译：

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熟悉的失去和归属的语法：在阿根廷独裁后策划跨性别亲属关系

1976年3月24日，阿根廷军方发动政变，建立独裁政权。为了消灭激进的左翼激进分子，武装部队在 1983 年民主过渡之前实施了大规模平民谋杀。五月广场的母亲出现了，通过动员肖像画使家庭破裂可见并起诉国家来抗议他们的孩子的失踪。本文考察了档案展览 Esta se fue, a esta la mataron, esta murió (2017)，展示了 1970 年代至 1980 年代（与独裁统治同年）的跨性别女性白话照片和家庭相册。本文分析了展览的策展选择以及照片的材料和触觉品质，将展览与母亲们标志性的激进主义视觉文化和家庭失散的民族叙事一起阅读。在这样做，