Abstract Prior to the emergence of social and critical museology, a normativist discourse suffused with a white, male, heterosexual, bourgeois perspective prevailed within museums. Any discourse that did not fit into that legitimising pattern would simply be silenced and forgotten. Accordingly, the memory of the LGBTQI+ community was excluded from the museums of the city of Buenos Aires. Nevertheless, from a strongly activist and self-administrative standpoint, various members of the queer community managed to safeguard documentation and objects relating to their past living conditions, which are marked by injustice, struggle and discrimination of all kinds. In the heat of successive debates surrounding the Equal Marriage Act (2010) and the Sexual Identity Act (2012), the visibility of the art and history of the collective increased and entered the agendas of the media and the museum. This article gives an account of the heterogeneous museum ecosystem of the Argentine capital in terms of inclusion of the memories of the LGBTQI+ community, both in collections policy and exhibition programming.

中文翻译：

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布宜诺斯艾利斯博物馆生态系统中的 LGBTQI+ 代表

摘要 在社会和批判博物馆学出现之前，一种充满白人、男性、异性恋、资产阶级观点的规范主义话语在博物馆中盛行。任何不符合这种合法化模式的话语都会被沉默和遗忘。因此，LGBTQI+ 社区的记忆被排除在布宜诺斯艾利斯市的博物馆之外。尽管如此，从强烈的激进主义和自我管理的角度来看，酷儿社区的各种成员设法保护了与他们过去生活条件相关的文件和物品，这些文件和物品以各种不公正、斗争和歧视为特征。在围绕《平等婚姻法》（2010 年）和《性身份法》（2012 年）的连续辩论中，集体的艺术和历史的知名度增加并进入了媒体和博物馆的议程。本文从收藏政策和展览计划中纳入 LGBTQI+ 社区的记忆，对阿根廷首都的异质博物馆生态系统进行了说明。