In "Fotografías 1930-1943", the formal associations with Robert Frank's 'The Americans' are proposed as a provocation: that disorganized and critical gaze attributed to Frank's photography, that freshness that deconstructs the canon of traditional photographic modes of seeing, are present in the vernacular photographs of the General Archive of the Nation. Thus, this foundational work of photography produced from the center is invoked here through formal and material relationships to consider how, from the periphery, other images produced for different purposes possess similar characteristics, highlighted, pointed out, and sequenced through Medail's gaze.

In historical and historiographical terms, the book presents itself as a chronicle of daily life in Buenos Aires in the 1930s, portraying the ways of life in the city during those years. The book marks a period between two coups d'état and focuses on the 1930s, known as the infamous decade, as it opens with the first civic-military coup of the twentieth century and is marked by fraud and corruption. The publication of this work in the current context allows us to look at the history of photography and the history of the country from a contemporary perspective, in a present where discourses associated with conservative restoration resonate once again.