In his Olivos workshop.

In the mid-nineties the Centro Cultural Torcuato Tasso, which was situated on Defensa street right next to what was his house, became an active tango bar, and a noisy one at that. Gómez asked for the Centro to be soundproofed but was unsuccessful. In 2003 he sells his house and, after living for a few months on Avenida de Mayo, moves in March to Olivos, a quiet neighbourhood on the outskirts of Buenos Aires. Here he regains peace and sets up a large workshop at the back of the garden of his new house.

After being in storage for many years in precarious conditions, an important number of works in the guts and bone series (1978-83) are restored and later exhibited at the Daniel Maman gallery. The former, in particular, were problematic: they cracked and flaked easily, for Gómez had employed polyester resin without fibreglass. The exhibition, accompanied by an important illustrated catalogue, has a great impact, in spite of the time that has passed since the pieces were created. With stark intensity, works like N.N., Carcass, Burnt, Animal, Hanged Man, The Ship