The literary reputation of Griselda Gambaro and her masterpieces The Walls, Information for Foreigners, and Antigona Furiosa remain an interest in studies of modern Latin American drama. (3) The playwright and her dramas still draw scholars' attention as they deal with political issues and disputes derived from modern Argentinean history during the military coups and the period of the Dirty War (1976-83), and the consequences--whether social, psychological, representational, and/or ethical--that were caused by these clashes. Indeed, not only is Gambaro privileged in dramatizing subjects like violence and sexuality that capture her spectators' interests, but she is also distinguished in the way she utilizes staging in effectively dramatizing these topics. This study aims at exploring Gambaro's techniques of staging violence and sexuality in the aforementioned plays, in the light of the feminist politics of location. In particular, the following analysis will examine Gambaro's utilization of the 'room' and other related special codes, along with notions of silence and absence, in the light of feminist issues of location and power. To start with, feminist politics of location need be outlined. In a major essay on the politics of location, Adrienne Rich, a poet and a major feminist critic, has asserted that the core of women's problems is "[T]he arrogance of believing ourselves at the center" (Rich 1984, 223). As such, Rich reflects a deconstructive strain; 'belief' and 'center' are essential domains in deconstruction, pertaining to the authority of the mind and validity of 'truth', the so-called logocentrism. And since this statement represents a woman's recognition of logocentrism, implying a proposed change, it hints at a deconstructive feminist evaluation of space and location. (4) Rich's politics of location target a patriarchal culture that generously assigns spacious fields for men and suppresses and marginalizes the space for women and their creativity. A better understanding of location, Rich might be suggesting, helps women achieve a major position in literary and critical discourse: to attack the arrogance of the male who colonizes that center, or, indeed, women's need to dominate (be) the literary/critical center rather than arrogantly believing that they do.