For days, I couldn’t get Charles’s gold supertunica off my Instagram feed. The newly minted king had leveraged gold’s hallucinatory power: he could count on Meta’s algorithm, designed to mine attention. The word “hallucination” was coined by Thomas Browne, to whom the English language owes more than 750 others, including “computer,” “coexistence,” “exhaustion,” and “indigenous.” These disparate expressions of power, currency, and representation coalesce in “El Dorado. Un territorio,” on view at the waterfront Fundación Proa in La Boca, where the Spanish landed in 1536, as the Matanza River—South America’s most polluted waterway—meanders past the art institution. Developed collaboratively by Fundación Proa, the Americas Society (New York) and Museo Amparo (Pueblo, Mexico) to explore the myth of El Dorado, its multivalence, and its contemporary resonances through the work of Latin American artists, the project comprises three distinct exhibitions. This serial form reflects, according to the organizers, the concept’s core elusiveness and its diverse manifestations around Latin America since 1492. It also refutes the very idea of Latin America—a geopolitics imagined by colonial capitalism and sustained by neoliberalism—by presenting three locally-specific approaches to the myth. In Buenos Aires, the project’s first iteration brings together works by twenty-seven contemporary and several anonymous …