In 1999 Pavón and Laguna cofounded Belleza y Felicidad, a hybrid cultural center, art gallery, small publishing press, and gift shop, in the Almagro neighborhood of Buenos Aires.
[2][4][5] Critics have identified Belleza y Felicidad as a successor to the University of Buenos Aires's Centro Cultural Rojas, which from 1989 to 1996 served as a platform for young artists noted for their "seemingly anti-intellectual and apolitical aesthetics" and embrace of kitsch art.
[5][6] Belleza y Felicidad served as a platform for the diffusion of emerging contemporary artists and writers alongside more established figures, including César Aira, Roberto Jacoby, Dani Umpi, Rosario Bléfari, and Laguna and Pavón themselves.
[11] Her published translations from German, English, and Portuguese include works by Diedrich Diederichsen,[12] Ariana Reines,[13] Dorothea Lasky,[14] Chris Kraus,[15] Claudia Rankine, Eileen Myles, Lorrie Moore, and CAConrad.
Critic Anahí Rocío Pochettino described the book as "an experiment in collective writing and a manifesto, like the uncanny archive of Belleza y Felicidad and similar projects," and its composition as "a montage of conversations, pictures, handwritten texts, and newspaper clippings that the writers/editors emailed each other throughout the year.
"[27] In Bazar Americano, critic Flavia Garione commented on the collection's autofictional and metafictional tendencies: "What initially stands out to me is Pavón's ability to manifest in her writing an autobiographical slant deftly mixed with invention.
[9][16] Writing for the Los Angeles Review of Books, Kate Wolf notes, "As with Dorothea Lasky and Sheila Heti, Pavón prefers to use a bold and direct persona that is allowed to express all kinds of contradictions, a voice intoxicatingly and powerfully free.
[16][41] Argentine poet and critic Marina Yuszcuk has described Pavón as "a kind of minimalist and less nerdy César Aira…but to his vocation for fantasy and pure creativity she adds a sensitive perception of daily life in its smallest aspects, which comes to her strictly from her poetic background."
Pavón has cited the influences of Silvina Ocampo,[1] Marosa Di Giordio, Arturo Carrera, Néstor Perlongher, Raymond Carver, César Aira, and Alejandra Pizarnik on her work.
[18] She has also cited several of her peers, including Marina Mariasch, Fernanda Laguna, and Gabriela Bejerman, whom she met in university, as well as Chris Kraus and Dorothea Lasky, American authors Pavón has translated to Spanish.