Colecciones de Artistas 
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Besides to the large collections of private or public character, the artists keep works for different reasons. Each set realizes and offers a testimony of the life and the relationships among them. It is a selection of preferences and pleasures that describe different moments in the life of each artist. Exchanges, gifts, occasional encounters can be read in these dialogues.

The attempt of defining the concept of "collection" but from the look of the artists, it is the aim of the exhibition. Nearly all the guests indicate that they have not certified a "collection". They agree that a "collection" is based on the development of a governing idea.

The only one artist of this group of interviewees that it has certified collections is Nicolás García Uriburu. He¹s inaugurating the Pre-Columbian Art Museum in Buenos Aires and it has established the Painting and Sculpture Museum in Maldonado, Uruguay. García Uriburu has the spirit of the collector, but the area of his attention it has not been the contemporary or modern art.

Luis F. Benedit supports that "a collection is organized with a point of view, from a perspective.(...)
For the collector, the origin of the work, the documentation, its reproduction, all the history of the work is something very important. This need is very reasonable because a collection must be documented. This
attitude nothing has to do with the works that we have from other artists.

The work selections, accomplished by the artists, are removed from this criterion from "collection", defined by them. Nevertheless, all group of works shares with a collection the fact of incorporating pleasure motives and personal views. Such as indicates Pierre Schneider, "the weaknesses that annoy in the collections of the museums
Are in the private collection rests, respites, in fact, life signs ".*

Each artist keeps also works of his own production. And these works allow us to enter in the experience of the artist as compared to their elections and particular pleasures. Emerge the questions of why a work was preserved by the artist, which interest has to him, why was detached of others.
The objective is to put to arrangement documents, histories, anecdotes that serve as sources of comprehension of the artistic occupation and aspects of the life of the creators. We value the data that offered us the artists in their interviews as material of documentation from where we are be able to analyze some criteria of our history of the art, laborious and arduous task that accomplish critical, investigating and historians.

Proa Foundation thanks very especially to the artists that politely put to arrangement their works and dedication for this project.
And also let witness of the permanent support that offers to our foundation the companies Siat S.A., Siderca S.A. of the Techint Organization.

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