Inspired by Demaría’s research into this erased history, in 2019 the photographer Claudio Larrea produced a series that speculatively recreated Ballvé Piñero’s homoerotic snapshots of the early 1940s (Figure 2). Los cuerpos del delito, a double entendre referring to “bodies of the crime” and “bodies of evidence,” insists on the ways that masculine subjects and a desiring gaze, here filtered through the camera’s lens, have been bound up in processes of surveillance and persecution.