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Washington D.C., 1973: Marta Minujín shut herself up in her studio and worked for six months on the painting series Frozen Sex. But lest we imagine this situation as a withdrawal isolating her from the world, let's keep in mind that, on the contrary, before taking up her brushes, the artist embarked on an ethnographic survey of pleasure: checked out porno cinemas, cabarets, sex shops, and parties in which sexual liberation was setting the pace for modern life. In this city, as well as in New York and San Francisco, where she also spent time in her twenties, desire and consumerism bred a …