After being held for two years in a dark and humid warehouse, one of the most important archives documenting contemporary art events in Venezuela came to light in September 2008. Relying on findings on the role of the archives and the memory of the formation of the national identity, Artist José Olavarría (Valencia, 1969) unearthed some twenty boxes filled with documents, catalogues, videos, and recordings that were unable to find a home at the current Sala Mendoza address, located in the Universidad Metropolitana de Carácas since March 2006. After classifying the material and conditioning the space, the Centro Documental ¿ the first space dedicated exclusively to the study of contemporary art in Venezuela ¿ was ¿re-inaugurated¿ from September 19 through October 29, so the public could once again have access to this cultural heritage. Nevertheless, what Olavarría calls his ¿Trojan Horse¿ continues to occupy the exhibit room because the cost involved in moving it out of the room is beyond the institution¿s budget. In referring to the exhibit, Olavarría stated: ¿I could not let the Centro Documental die. The success of the project resided in carrying out a truly radical strategy for an institution that has a series of needs and limitations¿. The re-inauguration of the Centro Documental also became relevant for another reason. The cultural initiative of the Hugo Chávez government had announced earlier the creation of a National Archival System, a project that will centralize the management of the country¿s numerous archives so everyone can speak the same language, be on the same page. Confronted with the requirement for multiple spaces committed to safeguarding the collective memory, Aixa Sánchez, Executive Director at the Sala Mendoza, affirms that ¿It is not about leaving these standing here just for exhibit. At present, there is no one in charge of the Centro Documental, but I am looking for that person¿.