Cacho Di Catarina’s Pulpería. Mercedes, Province of Buenos Aires.

Vintage analog print on fiber-based paper. Dimensions: Photograph, 18.58 x 28.4 cm; secondary support, 23.52 x 30.3 cm. Copy number 1/10.

“In the *pulperías* [rural general stores], clocks tick to a different rhythm—one of pauses and slowness. Within these walls, you might order a *grapa* (grappa) while the customer next to you is picking out a pair of *alpargatas* (canvas shoes). Some come in for a kilo of flour, only to leave with varnish, paintbrushes, and a coil of barbed wire—all packed into the same cardboard box. Leaning against the counter, you might overhear hushed conversations about improved corn yields, while at another table, raucous laughter erupts as the winner of a *truco* card game sports an ‘ace of swords’ stuck to his forehead. There are no screens here; things are tangible—truly so. In this sanctuary, a refuge from the virtual world, I chose to forgo digital photography. The images in this series were captured the old-fashioned way: on black-and-white film, developed and printed on traditional analog paper. This allowed me to remain in sync with the atmosphere I was documenting,” the photographer explains.

Eduardo Longoni—the photographer behind the iconic image of Diego Maradona’s “Hand of God” goal against the English in the 1986 Mexico World Cup—is now the focus of a major exhibition, running from October 29 to April 15, 2027, at the Museum of the Americas (*Museo de América*) in Madrid. Curated by Raquel Aznar and Lucía del Olmo, the exhibition—titled “Image and Memory: Argentina 1976–2003”—introduces us to an artist who explores the very essence of Argentine identity.