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Resumen:  A partir del estreno del primer documental de memoria de Albertina Carri, Los rubios (2003), irrumpe una nueva voz social y artistica: la generacion de lxs hijxs de desaparecidos por la ultima dictadura civico-militar (1976-1983), cuya respuesta critica no se hace esperar. El debate en torno a Los rubios –con intervenciones de las principales personalidades de la academia argentina a lo largo de toda la decada– junto con el debate en torno a lo individual y lo social en el primer documental de Nicolas Prividera, M (2007)–, exponen las aristas de los principales nucleos de discusion estetico-politica de esta epoca: las disputas esteticas entre autonomia y posautonomia del arte y las memorias en conflicto sobre el pasado reciente, que es tambien decir nuestro presente.  Palabras clave: memoria; debates criticos; hijos; valor; canon.   Abstract:  From the premiere of Albertina Carri's first memory documentary, Los rubios (2003), a new social and artistic voice bursts in: the generation of daughters and sons of disappeared people by the last civil-military dictatorship (1976-1983). The debate around Los rubios – with interventions by the main personalities of the Argentine academy throughout the decade– together with the debate around the individual and the social in Nicolas Prividera´s first documentary, M (2007)–, expose the edges of the main centers of aesthetic-political discussion of this era: the aesthetic disputes between autonomy and post-autonomy of art and the problem of memories in conflict over the recent past, which is also to say our present.  Kewwords: memory; critical debates; descendents; value; canon.

LA CRÍTICA A LA EDAD. LOS RUBIOS DE ALBERTINA CARRI Y M DE NICOLÁS PRIVIDERA EN LOS DEBATES DE LA MEMORIA CONTEMPORÁNEOS