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Marcelo Bonevardi
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 (1929-1994)
Born in 1929 en Buenos Aires. He completed his studies in architecture at the Universidad de Córdoba. During the early 1950s, he received numerous municipal and provincial awards. In 1958 and 1959, he was awarded a Guggenheim fellowship. During that year he settled in New York, where he exhibited at the Roland de Aenlle Gallery in 1960 and at the Latow Gallery one year later. In 1963, he began working on his painting-constructions. During that year and the following year, he received a grant from the New School for Social Research. In 1965 he held solo and collective exhibits at the Bonino Gallery in New York, where he was also part of the show “Magnet: New York”. That same year, Romero Brest selected his work for the exposition Argentina en el mundo. Artes visuales 2, held in the Teatro General San Martín, and the Museum of Modern Art in New York acquired several pieces of his work for its collection. In 1966, he took part in the exhibit “The Emergent Decade”, originally held at the Guggenheim Museum and later at various institutions throughout the United States. He also took part in the III American Biennial of Art in Córdoba, in which he received an award, the Premio Especial del Ministerio de Relaciones Exteriores. During that year, he joined the exhibit “Contemporary Urban Visions” at the New School Art Center of New York. In 1967 and 1969 he had solo exhibits in the Bonino Gallery. In 1967 he joined an exposition dedicated to Latin American art at the Academy of Art of Pennsylvania, and in the following years his work was exhibited at various institutions in Chicago and New York. In 1969, he received the International Prize at the X São Paulo Biennial. He then went on to exhibit in Colombia and Switzerland, among other places. From 1976 on, he split his time between New York and Córdoba, where he settled intermittently in 1983. He sat on the jury of the Guggenheim fellowship from 1979 on, and became a United States citizen in 1980. He collaborated with the poet Alberto Girri on a book of poems and drawings and participated in the Venice Biennial in 1986. In 1991 he moved permanently to Córdoba and in 1992 he received the Konex Platinum Prize. His work is housed in museums in Argentina, Brazil, Canada, Mexico, the United States, and Venezuela. 

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Ary Brizzi
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Bs. Aires, 1930. Lives and works in Bs. Aires.
Born in Buenos Aires in 1930. A painter, sculptor, and designer, he graduated from the Escuela Superior de Bellas Artes Ernesto de la Cárcova as a professor of Drawing and Mural Decoration in 1951. He has been exhibiting his work since 1952 in Argentina and abroad. He joined the group G-13 and had his first individual show in 1958. In 1959 he participated in the Paris Biennial and traveled to the United States to direct the construction of the Argentinian Pavilion at the 1964 World Fair in New York. He took part in the Premio Ver y Estimar in 1962. In 1963 he exhibited in the collective show Del arte concreto a la nueva tendencia at the Museo de Arte Moderno in Buenos Aires. That same year, he was included in Ocho artistas constructivos at the Museo Nacional de Bellas Artes. One year later he participated in “Buenos Aires 64” at the Pepsi-Cola Exhibition Gallery. In 1965 he was part of the Argentinian envoy of artists to the VIII São Paulo Biennial. In 1967, he exhibited in Más allá de la geometría at the Instituto Torcuato Di Tella, and in 1968 he exhibited in “Four New Argentinian Artists” at the Bonino Gallery and “Beyond Geometry” at the Center for Inter-American Relations, both in New York. That same year he joined the exposition Materiales, nuevas técnicas, nuevas expresiones in the Museo Nacional de Bellas Artes, and in 1970, “Latin American Paintings and Drawings from the Collection of John and Barbara Duncan” in the Center for Inter-American Relations. He won, among other awards, the First National Sculpture Prize in the Salón de Artistas Jóvenes de América Latina (1965); the First Prize for Foreigners in the First Biennial of Quito, Ecuador (1968); an Award of Honor for Painting by the LXV Salón Nacional de Artes Plásticas (1976); and a Gran Premio from the Grandes Premios del Salón Nacional 1911-1982 (1982). That same year (1982), he won the Konex Platinum Prize awarded to the best geometric painter.

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Eduardo Costa
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 Bs. Aires, 1940. Lives and works in Bs. Aires.
Born in Buenos Aires in 1940. He studied literature and art history at the Universidad de Buenos Aires. He worked on the magazine Airón. Inspired by the work and activities of Oscar Massota, Costa became interested in new artistic practices, performance and products of the industry of culture and the media as a new field of experimentation. In 1966 he, Raúl Escari and Roberto Jacoby wrote Un arte de los medios de comunicación. At the same time, the three artists carried out the Happening para un jabalí difunto/Participación total, a fictional experience that was however covered by mass media as if it had actually happened. In 1967 Costa traveled to New York and presented his Fashion fictions to Vogue magazine, which they published in the beginning of 1968. In 1969, Costa edited the manifesto Arte útil as part of Street Works, created in New York by a group of poets and artists. That same year, together with Hannah Weiner and John Perreault, he organized “The Fashion Show Poetry Event” in which Claes Oldenburg, Andy Warhol, James Rosenquist, Marisol, Alex Katz, Marjorie Strider and other artists participated. In addition, he edited the first edition of the Tape Poems with Perreault, 500 copies of a stereo tape specially created by Burton, Vito Acconci, Dan Graham and the editors, among other artists. In 1971, Costa returned to Argentina. He then moved to Rio de Janeiro where he continued his work in contact with the group formed by Helio Oiticica. In 1981 he returned to New York. In the early ’90s, he began writing for the magazines Flash Art and Art in America and started to work on their volumetric paintings.

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Jaime Davidovich
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Bs. Aires, 1936. Lives and works in N. York.
Born in Buenos Aires in 1936. Artist and television producer. He began to exhibit his work towards the end of the 1950s at the Lirolay Gallery, as well as other venues. In 1962 he took part in the Premio Ver y Estimar and one year later was given a grant to travel to New York where he studied at the School of Visual Arts. At the end of the seventies, his work became more environmental, a transition that gave origin to the Tape Projects. Under the auspices of EAT (Experiments in Art and Technology), he carried out a collection of works in which he replaced canvases with adhesive tapes. In 1973, Davidovich was invited to participate in the Biennial of the Whitney Museum of American Art. His experiments with tapes originated the project Tape as Art and Art on Tape, in which Davidovich proposed to confront the experiences produced by these two heterogenic mediums. Meanwhile, throughout the decade, he filmed a collection of videos: Road (1972); Blue, Red, Yellow and Libertad de Prensa (1974); Baseboard, 3 Mercer Street and La Patria Vacía (1975); El video interior and Two Windows (1976). These films enabled him not only to exhibit in some of the most important spaces in the United States, but also to receive grants from the Creative Artists Public Service Program and from the New York State Council on the Arts. In 1976, together with other artists, he founded Cable SoHo and served as its first program director. One year later, he became a founding member of the Artists Television Network (ATN), an institution aimed at promoting television artists and their work, which he served as the director of between 1977 and 1983. In 1984, he returned to videoart and embraced a style that was more explicitly political with his creation of Evita: A Video Scrapbook, an investigation of the historical and mythical figure Eva Perón, to whom he would return in 1990 with “Eva Perón, Then and Now”. Since then, he has produced video installations that articulate past preoccupations and current concerns in relation to the phenomenon of global culture. In 2000, after his creative residency at the Deep Listening Center, he carried out the installation “View from Above”.

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Jorge de la Vega
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(1930-1971)
Born in 1930 in Buenos Aires. He studied architecture and was also a painter, drawer, storyteller, and singer-songwriter. He exhibited his work beginning in the 1940s. He had his first solo show in 1951 in the Banco Municipal de la Ciudad de Buenos Aires. In 1953 he began to produce non-figurative paintings which he showed in Nueva generación plástica argentina, 12 pintores no figurativos and the first Salón Peuser de Pintura No-Figurativa. In 1960, his work took a turn to incorporate the human figure in neofigurative paintings. That year, he took part in the Premio de Honor Ver y Estimar at the Van Riel Gallery. He was invited to participate in the Premio de Pintura Torcuato Di Tella, in which Noé and Macció, the artists with whom he formed the Nueva Figuración group along with Ernesto Deira that same year, also took part. In 1961 the first exposition by the neofigurative group, titled Otra figuración,was held at Peuser, in collaboration with Sameer Makarius and Carolina Muchnik. That same year, the four members of the group traveled to Europe and settled in Paris. They held numerous exhibitions there, and upon their return they partook in several shows at the Lirolay and Bonino galleries. In 1963 De la Vega made his first trip to the United States for the inauguration of his first solo exhibit at the Pan-American Union in Washington DC. He also participated in the group’s exhibits at the Museo Nacional de Bellas Artes, the Bonino Gallery in Rio de Janeiro, the Comisión Nacional de Bellas Artes in Montevideo, and the IV Guggenheim International Award in New York, among others. He partook in the Premio Nacional e Internacional del Di Tella (1963 and 1964), the II American Biennial of Art in Córdoba, “New Art of Argentina”, “New Personalities of Latin America” “First International Show of Pop-Art”, “Twenty South American Artists”, “The Emergent Decade”, Argentina en el mundo. Artes visuales 2. In 1966 he moved to New York, where he met Liliana Porter and Luis Camnitzer and joined the New York Graphic Workshop. He was given an award in the III American Biennial of Art in Córdoba. In 1967 he returned to his country and took part in various exhibits, such as Surrealismo en la Argentina and Collages at the Bonino Gallery, as well as a solo exhibit at the Instituto Torcuato Di Tella: Blanco & Negro. Obras recientes de Jorge de la Vega. He joined the Premio Criterio. In 1968, he moved along the circuit of local galleries, exhibiting at Bonino, IDA, and Guernica 25. During the same period, he recorded his first record and “exhibited” his musical piece El gusanito at Bonino gallery. He was the artistic consultant of the first three issues of the countercultural magazine Pinap, in which he also published a short story. In 1969 he produced a musical event at the Centro de Experimentación Audiovisual del Instituto Torcuato Di Tella together with Marikena Monti and Jorge Schussheim, titled Canciones en informalidad. That year he was included in the exposition “Latin American Paintings from The Solomon R. Guggenheim Museum”, at the Center for Inter-American Relations in New York. The following year he presented the “Exposición-Concierto de Jorge de la Vega” at the Carmen Waugh gallery and was hired as a creative publicist. In 1971, while he was working on a record that he never finished recording, he joined the São Paulo Contrabiennial and took part in the collective experience El place de pintar, organized by Noé and held at the Carmen Waugh Gallery. After that, he continued to exhibit both individually and collectively in numerous venues in Buenos Aires, Caracas, São Paulo, Rio de Janeiro and Madrid, among other cities.

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José Antonio Fernández Muro
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Madrid, 1920. He lives in Madrid.
Born in Madrid in 1920. In 1938 he moved to Argentina. He had his first solo exhibit at the Witcomb Gallery in Buenos Aires in 1944. He won a grant from Unesco to study museology in Europe and the United States between 1957 and 1958. In 1959 he held a solo exhibit at the OEA, Washington DC. In 1960 he received an award from the Guggenheim Museum in New York. He exhibited at the Museo Nacional de Bellas Artes with the Grupo de los Cinco. He partook in the Premio Nacional de Pintura del Instituto Torcuato Di Tella in 1960. In 1961 he was part of “Latin America: New Departures”. He was included in the envoy to the VI Sao Paulo Biennial. He exhibited at the Museo Nacional de Bellas Artes. He moved to New York in 1962, where he resided until 1970, when he moved to Europe with his wife Sarah Grilo. He was part of the inaugural exhibition at the Andrew-Morris Gallery in New York in 1962. He partook in other various exhibitions: Del arte concreto a la nueva tendencia (1963); Argentina en el mundo. Artes visuales 2 (1965), “4 Sculptors, 2 Painters” (1963); “Magnet: New York” (1964); “New Art of Argentina” (1964); two solo exhibits at the Bonino Gallery (1965 and 1967); “The Emergent Decade” (1966); “Latin American Paintings from the Salomon R. Guggenheim Museum” (1969); “Latin American Paintings and Drawings from the Collection of John and Barbara Duncan” (1970); “Looking South: Latin American in New York Collections” (1972). In 1980 he and his wife acquired a studio in Paris and alternated their stays between Paris and Madrid. In 1989, they moved permanently to Madrid, where he still lives

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Grupo Frontera
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A collective of artists formed by Adolfo Bronowsky, Carlos Espartaco, Mercedes Esteves, and Inés Gross in the year 1968. Descendents of distinct artistic fields, the artists that formed the group combined diverse artistic languages, semiotics developments, and theories of information. In 1969 they took part in the Experiencias visuales of the Instituto Torcuato Di Tella, where they presented Especta, a relational installation that developed the links between the mechanism of television, culture, and information. They traveled to Uruguay that same year to present the work in Punta del Este. In 1970, they were invited to exhibit a third version of the installation in the “Information” show held at the Museum of Modern Art in New York. After this experience, the collective fell apart. 

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Nicolás García Uriburu
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Bs. As., 1937. Lives and works in Bs. As.
Born in 1937 in Buenos Aires. He completed his studies in architecture at the Universidad de Buenos Aires. In 1954 he had his first exposition, a collection of humorous drawings, at the Galería Müller. In the early 1960s, he participated in the Premio Ver y Estimar and held solo and group exhibitions at the Lirolay Gallery. In 1965, he won Second Prize for Drawing in the Premio Braque and then traveled to Paris that same year. The following year, he was part of the traveling exhibition “The Emergent Decade”, which was first held at the Guggenheim Museum of New York and then toured throughout the United States. He was part of Materiales, nuevas técnicas, nuevas expresiones at the Museo Nacional de Bellas Artes in 1968. That same year, he carried out a Coloration of the Grand Canal in Venice during the Biennial and won the Le Franc Prize. From that point on, his work became characterized by its increasing preoccupation with environmental problems and formed the beginning of the Land Art movement. He carried out Coloraciones in various places and in different formats, and later added Plantaciones to the series. He worked with Joseph Beuys on the Documenta VII in Kassel, and in 1975 he won first prize in the Tokyo Biennial of Graphic Art. In the 1980s, his pictorial work was dedicated to representing ecological and conservationist actions and animals in extinction, and he produced a collection of cartographies. His work has been valued not only by institutions in Argentina but also by galleries and museums in France and Belgium. He is a founding member of the Grupo Bosque, with whom he participated in the reforestation campaigns in Maldonado, Uruguay. In Buenos Aires, he presides over the Foundation that carries his name, which is dedicated to studying the art of the original pueblos in America and houses a collection of pre-Colombian art. He has worked in conjunction with Greenpeace in defense of the environment. He is a permanent curator of the museum named after him in the city of Maldonado, Uruguay. In 2000, he received the Premio a la Trayectoria given by the Fondo Nacional de las Artes in Buenos Aires. 

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Sarah Grilo 
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(1919-2007)
Nace en Buenos Aires en 1919. Estudia pintura con Vicente Puig, Realiza su primera muestra individual en la Galería Palma en Madrid, 1949. En 1952 participa del colectivo de artistas junto a Claudio Girola, Enio Iommi, Alfredo Hlito, Tomás Maldonado, Lidy Prati, José Antonio Fernández-Muro,
Miguel Ocampo y Hans Aebi, invitados por Aldo Pellegrini y participa de la muestra en la Galería Viau. En 1956 es incluida en el envío a la Bienal de Venecia. Se instala en París junto a su marido, José Antonio Fernández Muro. En 1960 se expone en el Museo Nacional de Bellas Artes obras del Grupo de los Cinco. A su regreso participa del Premio Di Tella, 1960. Forma parte de la muestra “Latin America: New Departures” en el Instituto de Arte Contemporáneo de Boston, de la VI Bienal de Sao Paulo y realiza una muestra individual en la Galería Bonino de Buenos Aires. Gana la Beca Guggenheim en 1962 y se establece en Nueva York. Muestra en “Magnet: New York”, en la Galería Bonino NY, en la que participan artistas latinoamericanos residentes en esa ciudad en 1964. En el mismo año muestra en “New Art of Argentina” en el Walker Art Center, Minneapolis. 1965: participa de la muestra, con selección a cargo de Romero Brest, Parpagnoli y Oliver, “Argentina en el Mundo. Artes Visuales 2”. Vuelve a mostrar en una exposición dedicada a artistas latinoamericanos en 1966, formando parte de la muestra “The Emergent Decade”, en The Solomon R. Guggenheim Museum de Nueva York. En 1967 tiene una muestra individual en Byron Gallery de Nueva York. En 1970 se radica en España. Allí continúa su trabajo, mientras también realiza muestras en Buenos Aires, París, Hamburgo y New York, entre otras. Muere en el 2007 en Madrid.

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Leandro Katz
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Leandro Katz, born in Buenos Aires in 1938, is a visual artist, a writer and a filmmaker, mainly known for his films and his photographic installations. An American/Argentine artist, he has lived in New York from 1965 until 2006, where he conducted creative and academic activities. He has been a member of the faculty at the School of Visual Arts, Brown University and William Paterson University. He currently lives in Buenos Aires. His works include long-term projects dealing with Latin American subjects that incorporate historical research, anthropology and visual arts. These include "The Catherwood Project", a photographic reconstruction of the two 1850's expeditions of Stephens and Catherwood to the Maya areas of Central America and Mexico, "Project For The Day You'll Love Me", which investigates the events around the capture and execution of Che Guevara in Bolivia in 1967, "Paradox", which deals with Central American archaeology and the banana plantations in the Maya region, "Vortex", which -following the classic novel La Vorágine by José Eustasio Rivera- addresses the social and literary history of the rubber industry in the Amazon region of the Putumayo River, and "Tania, Masks and Trophies", a project that examines the figure of Tamara Bunker, the only woman who fought together with Ernesto Che Guevara in his last campaign of 1967. Leandro Katz has produced many artists' books and seventeen narrative and non-narrative films. His latest artist's book dealing with matters of time and daily life, S(h)elf Portrait, was published in Buenos Aires in 2008. His most recent books, Natural History, and The Ghosts of Ñancahuazú, were published in 2010.  Recent exhibitions (2010) include Natural History (Henrique Faría Gallery, NY), Imán-New York (Proa, Buenos Aires), and 10,000 Lives - Gwangju Biennale, Korea. For his work, he has received support from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts, USA, and the Hubert Bals Fund, Holland, among many others.

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Kenneth Kemble
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(1923-1998)
Nace en Buenos Aires en 1923.  Asiste al taller de Raúl Russo y Rafael Oneto. En 1951 se dirige a París donde estudia en la Academia de André Lhote y recibe una beca del gobierno francés, que le permite continuar sus estudios allí. De regreso a la Argentina, participa en 1958 por primera vez de una muestra colectiva en Arte Nuevo, en la Galería Pizarro de Buenos Aires, pasando a formar parte del movimiento de pintura informalista. En 1959, integra sucesivas muestras que agrupan a esta corriente en la Galería Van Riel, en la Galería H., en el Museo de la Ciudad de La Plata y en el Museo Sívori. Un año más tarde tiene sus primeras muestras individuales en las Galerías Peuser y Lirolay, mientras forma parte del Permio Ver y Estimar, del Premio de Pintura del Instituto Di Tella y de la Exposición Internacional de Arte Moderno de la Cuidad de Buenos Aires. En 1961 presenta su serie Paisajes Suburbanos en la Galería Pizarro y vuelve a participar de la edición del Premio Ver y Estimar. Asimismo organiza la exposición de Arte Destructivo, en la Galería Lirolay. El Museo de Arte Moderno de Buenos Aires y el Miami Museum of Modern Art realizan una exposición individual de su obra en 1963. Durante ese año integra la muestra Pintura-Espejismo en la Galería Witcomb. Participa de las ediciones del Premio Braque de 1963, 1966 y 1967. Durante estos años vive en Boston. En 1964 participa del Boston Art Festival, y en las muestras “New Personalities of Latin America” en la galería del Pepsi-Cola y “Magnet: New York”, en la Galería Bonino, ambas en Nueva York. Durante su estadía en los Estados Unidos es incluido en diversas exposiciones colectivas en Boston y Providence, mientras lleva adelante un conjunto de experimentaciones formales que desembocan en la muestra “Investigaciones sobre el Proceso de la Creación”, realizada en la Galería Vignes de Buenos Aires, que comparte con Emilio Renart, Víctor Grippo y Enrique Barilaro. En 1967, su trabajo es incluido en la muestra del DACA y en la exposición “Más allá de la Geometría”, organizadas en el Instituto Di Tella. Esta última muestra viaja a los Estados Unidos al año siguiente y se presenta con el título “Beyond Geomtry” en el Center for Inter-American Relations. Durante esta década forma parte de los envíos a la VII Bienal de San Pablo y a la Primera Bienal de Pintura de Medellín.  A partir de los años siguientes integra muestras internacionales en Los Ángeles, Quito, Santiago de Chile, México, Caracas, Tokio y en los Estados Unidos, mientras lleva sus obras a una gran cantidad de galerías y centros de exhibición nacionales. Recibe diversos premios, entre ellos, en 1994 obtiene el Gran Premio de Honor del Salón Nacional de Artes Plásticas y el premio Eco Art, con motivo de la Cumbre de la Tierra, en Río de Janeiro. Ejerce la docencia en Escuelas de Arte y talleres privados de gran concurrencia. En 1998, con el título Kenneth Kemble. La gran ruptura. Obras 1956–1963, se presenta una muestra de su obra en la sala Cronopios del Centro Cultural Recoleta, con la curaduría de Marcelo Pacheco. Muere en 1998. 

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David Lamelas
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 Bs. As.,1944. vive entre L. Angeles, París y Bs. As.
Nace en Buenos Aires en 1944. Estudia en la Academia Nacional de Bellas Artes y expone por primera vez a los 15 años. Expone en las muestras “Carlos Gardel” y “El Superelástico” en la Galería Lirolay en 1964 y 1965 respectivamente. Participa, también en el 64, de las exposiciones colectivas “Feria de la Feria” en la Galería Lirolay, Salón de Latinoamerica, Museo de Arte Moderno. En 1965 colabora junto con Pablo Suárez, Leopoldo Maler, Rodolfo Prayón y Floreal Amor con “La Menesunda”, happening-recorrido de Marta Minujín y Rubén Santantonín. Ese mismo año participa del Premio Braque, del Premio de Honor Ver y Estimar y de la selección de Romero Brest en la Galería Guernica. En el año 1966 recibe una mención en el Premio Nacional Instituto Torcuato Di Tella y vuelve a participar de los Premios de Honor Ver y Estimar. En 1967 participa de las siguientes muestras colectivas: “Más allá de la geometría”, ITDT, “Señal de obra” junto a Bony, Benguria, Carreira, Jacoby, Palacio, Paksa, Suárez y Trotta, “Experiencias visuales ´67” en el Centro de Artes Visuales de Di Tella, “Estructuras Primarias II”, organizada por Jorge Glusberg en la Sociedad Hebraica Argentina. Además, participa de los premios Braque y gana un premio en la IX Bienal de Sao Paulo, junto a Jasper Johns (Estados Unidos), Carlos Cruz-Diez (Venezuela) y Michelangelo Pistoletto (Italia). En 1968, obtiene una beca del British Council y viaja a Londres donde estudia en la St. Martin´s School of Arts. Comienza a realizar cortometrajes y cine. Participa el mismo año de la muestra “Materiales, nuevas técnicas, nuevas expresiones” en el Museo Nacional de Bellas Artes de Buenos Aire y de las “Experiencias Visuales ´68”, en el Centro de Artes Visuales del Instituto Di Tella. Representa al país en la XXXIV Bienal de Venecia y participa de la muestra colectiva “Beyond Geometry”, en el Center for the Inter American Relations, NY. En 1972 participa en Documenta 5, Kassel. Participa de numerosas muestras entre las que se pueden mencionar una retrospectiva de su trabajo en el Witte de With de Rótterdam y en el Kunstverein de Munich, “David Lamelas: A New Refutation of Time”, en 1997. Muestra ademán en Los Ángele, Londres y Barcelona. En 2005, tiene una exposición antológica, “David Lamelas, Extranjero, Foreigner, Étranger, Aüslander”, en el Museo Rufino Tamayo de México. En 1993 recibió una Beca Guggenheim y en 1998, una beca de la DAAD de Alemania. A partir de 1976 vive  en los Los Angeles, Nueva York, Bruselas, Berlín y desde 1999 vive entre Los Angeles, París y Buenos Aires.

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Gabriel Messil 
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(1934-1986)
Born in Buenos Aires in 1934. He graduated in 1963 from the Escuela Nacional de Bellas Artes and began exhibiting his work in the early sixties. Between 1961 and 1965 he had solo exhibitions in MEEBA (1961), the Kalá gallery (1965), and the Centro Argentino por la Libertad de la Cultura (1965). He also participated in the Primera exposición de intercambio cultural argentino-brasileño held in various cities throughout Brazil (1961), in Macchi, Messil, Agüero in the Teatro Los Independientes (1963), and in Messil, Páez, Santander in the Arthea gallery, Buenos Aires (1964). He took part in the 1966 Premio Ver y Estimar, in the first competition of the contest “Plástica con plásticos” in the same year, and in the Premio Braque of 1967, in which he received First Prize for Painting. Within the context of the Semana del arte avanzado, organized by the Instituto Torcuato Di Tella, he was part of the show La visión elemental, curated by Samuel Oliver. During the year 1967, he participated in Estructuras primarias II, curated by Jorge Glusberg at the Sociedad Hebraica Argentina. Between the end of that year and the following year, he exhibited in Más allá de la geometría, in the Instituto Torcuato Di Tella, and “Beyond Geometry” at the Center for Inter-American Relations in New York.

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Eduardo Mac Entyre
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Bs. As., 1929. Lives and works in Bs. Aires.
Born in Buenos Aires in 1929. An industrial draftsmen since 1948. In 1958 he had his first solo show at Rubbers Gallery and one year later he formed the group Arte generativo with Miguel Ángel Vidal and Ignacio Pirovano. They exhibited together in the show Arte generativo at the Peuser Salon in 1960. That same year, Mac Entyre participated in the first Premio Ver y Estimar at the Van Riel Gallery, in Del arte concreto a la nueva tendencia at the Museo de Arte Moderno de Buenos Aires, and in Ocho artistas constructivos at the Museo Nacional de Bellas Artes. In 1964 he exhibited in “New Art of Argentina”, organized by the Instituto Torcuato Di Tella and the Walker Art Center of Minneapolis, and also partook in the II American Biennial of Art in Córdoba, Argentina, and was then selected to participate in a traveling exhibition around North America. In 1965 he sent pieces of his work to the Premio Nacional of the Instituto Torcuato Di Tella and to the VIII São Paulo Biennial. He joined the group G-13 and was part of their exhibition at the Bonino Gallery during the same year. In 1966 he took part in the “The Emergent Decade”, which circulated in the United States. In 1967 the Pan-American Union in Washington D.C. dedicated an exposition to him titled, “Eduardo Mac Entyre from Argentina”. Later he participated in Más allá de la geometría in the Instituto Torcuato Di Tella (1967), in “Beyond Geometry”, at the Center for Inter-American Relations in New York (1968), in “Four New Argentinian Artists” at the Bonino Gallery in New York (1968), and in “Latin American Paintings from the Solomon R. GuggenheimMuseum”, again at the Center for Inter-American Relations (1969). In 1970, he had a solo exhibition at the Bonino Gallery in New York and was included in “Latin American Paintings and Drawings from the Collection of John and Barbara Duncan”, at the Center for Inter-American Relations, where he returned in 1972 as part of the exhibition “Looking South: Latin America in New York Collections”. That same year, he organized the show Proyección y dinámica together with Ary Brizzi, Carlos Silva and Miguel Ángel Vidal, which premiered first at the Museo de Arte Moderno in Buenos Aires and later at the Musée d’Art Moderne de la Ville in Paris, where it was joined by the artists Manuel Espinosa and Miguel Ocampo.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

María Martorell
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Salta, 1909. Lives in Salta.
Born in Salta in 1909. In 1942 she began to study with Ernesto Scotti. Between 1952 and 1957 she settled in Europe, first in Madrid and later, in 1953, in Paris, where she studied with Pierre Francastel and was connected to Georges Vantongerloo. She exhibited her work in Madrid and Barcelona in 1952 and in Paris in 1955, at the Salon des Realités Nouvelles, where she presented her first abstract paintings, and at the Cimaise Gallery, in the exhibit “26 abstract painters.” She participated in Ocho artistas constructivos, at the Museo Nacional de Bellas Artes (1963), Del arte concreto a la nueva tendencia,at the Museo de Arte Moderno (1963), Más allá de la geometría at the Instituto Torcuato Di Tella (1967) and “Beyond Geometry” at the Center for Inter-American Relations in New York (1968). She also took part in the Grupo 13.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Fernando Maza
{NOTA_BAJADA}

Bs. Aires., 1936. Lives and works in París.
Born in Buenos Aires in 1936. He attended Raúl Podestá’s workshop. He lived in New York from 1960 on, when he received a grant from the Pan-American Union. From 1958, he took part in collective expositions in Argentina and abroad. He had his first solo exhibits in 1959 at the Rubbers and Van Riel galleries. That same year, he was part of the first exposition of the informalist movement at the Van Riel Gallery. In 1964 he exhibited in the Bonino Gallery of Buenos Aires. In 1965 he was one of the artists selected in the Premio Nacional of the Instituto Torcuato Di Tella and his work was included in Noé+Experiencias colectivas at the Museo de Arte Moderno. That year, he received an award at the VIII Sao Paulo Biennial. He was part of the exhibits Más allá de la geometría at the Instituto Torcuato Di Tella (1967), and “Beyond Geometry”, at the Center for Inter-American Relations in New York (1968), where he returned to exhibit in the following years. He participated in “Latin American Paintings from the Collection of John and Barbara Duncan” (1970) and “Looking South: Latin American in New York Collections” (1972). He received a Guggenheim fellowship in 1971. In 1973 he left New York and passing through London, he finally settled in Paris in 1977. In the 1980s, he received the Award of Honor from the Salón Nacional de Artes Plásticas.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Pablo y Delia
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Pablo Mesejean (1937-1991) and Delia Cancela (1940).
Artistic duo formed by Pablo Mesejean and Delia Cancela. Having participated as individual artists in the Ver and Estimar Awards in 1963 and 1964, both sign the manifesto known as "We love" and participate in the Sexteto exhibition in the Lirolay gallery, presenting a collaborative work. A year later in the same space they exhibit the installation Love and Life, from which they select a section to send to the Salón de Mar del Plata under the name Boleto para viajar [Ticket to Ride], the title with which it enters the patrimony of the Museo Provincial. In 1966, they travel to Opinión 66 in the Museo de Arte Moderno in Rio de Janeiro. That same year they are included in the Di Tella National Award with the work Muchachas y Muchachos: Zou-Zou and Benjamin; Antoine and Karine; Sony and Cher. They participate in the Primer Festival Argentino de Formas Contemporáneas (First Argentine Festival of Contemporary Forms) and are invited to join Experiencias Di Tella 67 and 68. The first year, they present Ropa con Riesgo, the first experimental fashion show at the Institute, and the following year they create and sell, especially for the occasion, the fashion magazine Yiyisch (Armenian for "pretty"). During this time, they work in conjunction with Alfredo Rodríguez Arias in the dressing room of an adaptation of Dracula, released first in the Di Tella and later taken to New York. In 1968 they already find themselves installed in Paris, thanks to a grant obtained through the Braque Prize 1967, organized by the French Embassy and which gives way to their longer stay in Europe, interrupted only by their New York experience between 1969 and 1970. After this, they settle in London until 1975. In addition to doing fashion illustrations and publishing designs in Vogue, Harpers Bazaar, Queen, Nova, and The Sunday Times, in 1971 they create the clothing brand "Pablo & Delia." In 1975 they move permanently to Paris, where they continue developing the brand into the early 80s, working with Yves Saint Laurent, Kenzo and the Createurs Group. In 2001, the Judith Clark Gallery of London presents the exhibition Pablo and Delia, The London Years 1970-75

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Marta Minujín
{NOTA_BAJADA}

Bs. Aires, 1943. Lives and works Buenos Aires.
Born in Buenos Aires in 1943. Completed her studies at the Escuela Nacional de Bellas Artes. After presenting a collection of oil paintings linked to the informalist movement in the late fifties, she received a grant to study in Paris, where she created her first happenings. After she returned, she exhibited at the Lirolay Gallery and took part in the Premio Ver y Estimar. In 1964, she was part of the traveling exhibit “New Art of Argentina”,under the auspices of the Instituto Torcuato Di Tella and the Walker Art Center; the exposition Objeto 64, held at the Museo de Arte Moderno in Buenos Aires; and in Buenos Aires 64, held at the Pepsi-Cola Salon in New York. That year, she won the Premio Nacional of the Instituto Torcuato Di Tella. One year later, she created a happening-tour, La menesunda, together with Rubén Santantonín, and El batacazo, at the Instituto Torcuato Di Tella, whose international competition she also took part in. In that same year, she was included in the exposition organized by Jorge Romero Brest, Argentina en el mundo. Artes visuales 2. In 1966 she received a Guggenheim fellowship and moved to New York. She joined the Homenaje al Viet-nam de los artistas plásticos, held at the Van Riel Gallery and exhibited with “The Emergent Decade” at the Guggenheim Museum of New York. In 1967 she received a grant from the Fairfield Foundation of New York and one year later from the Rockefeller Foundation. During these years, she produced Simultaneidad en Simultaneidad, Circuit, Minuphone, and Minucode. In 1968, she became part of the core body of professors in the field of “New Mediums” at New York University, together with Robert Rauschenberg, LaMonte Young and Steve Paxton, among others. During the following decade, she split her time between New York and Buenos Aires. Between 1976 and 1981, she started to create more ecological work and began to construct edible monuments, beginning with El obelisco de pan dulce, then La torre de James Joyce en pan, erected in Ireland and elaborated with a progression of symbolic figures covered with various food items. At the same time, Minujín developed a series of “deconstructing myths” with works such as El nido de hornero gigante (1976), El obelisco acostado (1978), presented in the city of São Paulo, and Carlos Gardel de fuego (1981), created for the Medellín Biennial. She culminated this series with the Partenón de los libros (1983). Two years later, she collaborated on a piece with Andy Warhol. In 1997, she began M.I.C 2. Mujer-Intelecto-Consumismo 2000, a monumental feminine figure that was meant to represent the woman of the next millennium, to be erected in Buenos Aires.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Honorio Morales
{NOTA_BAJADA}

La Plata, 1933. Lives and works in Alemania.
Born in La Plata in 1933. He studied at the Escuela Superior de Bellas Artes. He had a solo exhibition at the Sociedad Argentina de Artistas Plásticos in 1963 and took part in various collective shows: Salón de la Sociedad Hebraica (1963); XII Salón de Córdoba (1963); XXVIII Salón de Otoño de la SAAP (1963). During the 1960s, he was selected to participate in the following competitions: Premio de Honor Ver y Estimar (1964); Premio Nacional of the Instituto Torcuato Di Tella (1965); Premio Braque (1965). He then moved to Paris with a grant from the French government. In 1966 he was part of the exhibit the “The Emergent Decade” at the Guggenheim Museum in New York. In 1967 he traveled to New York, having won a Guggenheim fellowship, where he held a solo exhibit at the Bertha Schaefer Gallery, and took part in several collective exhibitions. In 1968 he received an invitation from the Deutschen Akademischen Austauschdienst (DAAD) in Berlin. He returned to the United States, and in 1972 the Germany city of Iserlohn officially put him in charge of creating a piece for the new pavilion in the Hauptschule Gerligsen building. In 1974 the Wendker firm hired him to execute a mural on the facades of the administration building and the fabrication room situated in the city of Herten. In 1978 the District of the City of Essen put him in charge of the architectural and artistic renovation of the city’s church of Herz Jesu. From 1972 until 1998 he also worked as a university professor in Essen.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Luis Felipe Noé
{NOTA_BAJADA}

Bs. Aires, 1933. Lives and works in Buenos Aires.
Born in Buenos Aires in 1933. He studied with Horacio Butler in 1952. He held his first solo exhibit at the Witcomb Gallery in 1959. Between 1961 and 1965 he was part of the Nueva Figuración group, together with Macció, Deira and De la Vega, with whom he took part in numerous exhibitions and competitions, including the group’s first show, Otra figuración, at the Peuser Gallery (1961), an exposition at the Museo Nacional de Bellas Artes (1963), and the International Guggenheim Award (1964), as well as other exhibitions in Argentina and Brazil. In 1961 he exhibited his Serie federal at the Bonino Gallery, he participated in the Premio de Honor Ver y Estimar as well as the Premio Nacional of the Instituto Torcuato Di Tella, and he traveled to Paris with a grant awarded to him by the French government. There he participated, along with other Argentinian artists, in the International Biennial of Young Artists in Paris. In 1962, Germaine Derbecq included him in the exhibit Curatella Manes y 30 artistas argentinos de la nueva generación at the Creuze Gallery. In 1963 he won the Premio Nacional of the Instituto Torcuato Di Tella and in 1965 and 1966 he has awarded a Guggenheim fellowship. In 1964, he was included in the exhibition “Magnet: New York” at the Bonino Gallery in New York. Later on he was part of “New Art of Argentina”, “Buenos Aires 64”, the Premio Internacional of the Instituto Torcuato Di Tella, Noé+Experiencias colectivas (1965), Argentina en el mundo. Artes visuales 2 (1965). That year Van Riel Gallery published his book Antiestética and he settled in New York, where he stayed until 1968. In 1966 he had a solo show at the Bonino Gallery in New York, where he presented his installations for the first time. He was part of “The Emergent Decade” (1966) and “Latin American Paintings from the Salomon R. Guggenheim Museum” (1968) and he received an Honorable Mention at the Tokyo International Biennial of Prints. He has since received numerous awards and distinctions, and has participated in many exhibitions.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

César Paternosto
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La Plata, 1931. Lives and works in Spain.
Born in 1931 in La Plata. He is a lawyer, painter, sculptor, author, and curator. He formed part of the informalist painting movement in La Plata, where he exhibited with the Grupo Sí in 1961. In 1963, he was part of the first edition of the Premio Braque. That year and the following two years, he took part in the Premio Ver y Estimar, held at the Museo Nacional de Bellas Artes and the Van Riel Gallery. During this time, he also presented a show titled Nueva geometría together with Alejandro Puente at the Lirolay Gallery. He returned as an exhibiting artist in the Premio Braque of 1965. One year later, he presented his Estructuras visuales at the Bonino Gallery, he took part in the Premio Nacional del Instituto Torcuato Di Tella and he won First Prize in the III American Biennial of Art in Córdoba. In light of his success, and thanks to Alfred Barr, his work was added to the collection of the Museum of Modern Art and was exhibited as part of its collected works in 1967. That same year, he joined the exhibit Más allá de la geometría, as well as its North American version, held one year later at the Center for Inter-American Relations in New York. In 1970, he presented his work in an exhibit called La visión oblicua at the A. M. Sachs Gallery in New York. He received a Guggenheim fellowship in 1972, as well as the Pollock-Krasner Foundation and the Adolph & Esther Gottlieb Foundation grants in 1990, among others. He has exhibited in various institutions throughout Latin America, North America, Europe, and Japan. His work is included in the public collections of the Museum of Modern Art, Solomon R. Guggenheim of New York, Albright-Knox Gallery of Buffalo, New York, and the Menil Collection of Houston, Texas, among others

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Rogelio Polesello
{NOTA_BAJADA}

Bs. Aires, 1939. Lives and works in Bs. Aires.
Born in Buenos Aires in 1939. He studied at the Escuela Nacional de Bellas Artes. He exhibited for the first time in the 1960 edition of the Premio del Instituto Torcuato Di Tella. He also participated in the first Premio Ver y Estimar. In 1961 he partook in “Art in Latin America Today”, at the Pan-American Union in Washington D.C., and joined the group Phases, which exhibited at the Museo Nacional de Bellas Artes in 1963. The same year he was included in Del arte concreto a la nueva tendencia at the Museo de Arte Moderno de Buenos Aires and in the Premio Nacional of the Instituto Torcuato Di Tella. In 1964 he exhibited in “New Art of Argentina” and in the II American Biennial of Art in Córdoba, where he was selected to participate in an exhibition that toured throughout the United States under the name “Twenty South American Artists”. One year later he participated in the Premio Nacional of the Instituto Torcuato Di Tella, the Premio Braque and the São Paulo Biennial, as well as numerous exhibitions in the United States and Argentina, including a show organized by Jorge Romero Brest with the title Argentina en el mundo. Artes visuales 2. In 1966 he had his first solo exposition in the Museo Nacional de Venezuela in Caracas and was part of “The Emergent Decade”. He was invited to participate in Más allá de la geometría (1967) and its North American version, “Beyond Geometry” (1968). That last year, he joined Materiales, nuevas técnicas, nuevas expresiones at the Museo Nacional de Bellas Artes, he won First Prize in the Premio Braque de Pintura and he participated in “Four New Argentinian Artists” at the Bonino Gallery in New York. In 1972, he sent his work to “Looking South: Latin American in New York Collections”. He has exhibited his work at various national galleries and institutions, and in the year 2000 the Museo Nacional de Bellas Artes dedicated a retrospective to him. In 2003 he won the Award of Honor from the Fondo Nacional de las Artes.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Alejandro Puente
{NOTA_BAJADA}

La Plata, 1933. Lives and works in Bs. Aires.
Born in La Plata in 1933, where he studied with Héctor Cartier at the Fine Arts School. He joined the Grupo Sí, whose first expositions took place in 1961 in the Museo Provincial de Bellas Artes de La Plata and later in the Museo de Arte Moderno de Buenos Aires. During the sixties, he had solo exhibitions in various galleries in Buenos Aires, including Bonino, Ruth Benzacar and Lirolay, where he presented together with César Paternosto Nueva geometría in 1964. He participated in the first Premio Braque (1963), the Premio Ver y Estimar (1964), the Premio Nacional of the Instituto Torcuato Di Tella (1966) and the multitude show Homenaje al Viet-nam de los artistas plásticos, organized by León Ferrari and Carlos Gorriarena in the Van Riel Gallery (1966). In 1967 he received a Guggenheim fellowship, with which he traveled to New York, where he resided for four years. Before he left, he was part of the exposition Más allá de la geometría at the Instituto Torcuato Di Tella and in its North American version, Beyond Geometry, at the Center for Inter-American Relations in New York (1968), and he was also included in Latin American Artists at the Delaware Art Center (1968). In 1970 he was invited to participate in “Information”at the Museum of Modern Art in New York. From there, he went on to exhibit in Switzerland, Germany, France, Spain, Italy, Mexico, Cuba, Japan, and China. In 1985 he was chosen to represent Argentina in the São Paulo Biennial. The Fundación Konex honored him in 1992 and 2004. He is a member of the Academia Nacional de Bellas Artes.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Liliana Porter
{NOTA_BAJADA}

Bs. Aires, 1941. Lives and works in New York.
Born in 1941 in Buenos Aires.She studied at the Escuela Nacional de Bellas Artes, and at the Universidad Iberoamericana in Mexico DF. In 1964 she participated in the exhibition titled “Magnet: New York” at the Bonino Gallery in New York, under the auspices of the Inter-American Foundation for the Arts, and then settled in the city. In 1965 she joined a group of artists who were exhibiting in the 11th Annual Exhibition of Latin American Prints at Armando Zegri’s Galería Sudamericana, under the auspices of the Museo de Arte Moderno de Buenos Aires. That year, together with Luis Camnitzer and José Guillermo Castillo, she founded the New York Graphic Workshop. In 1969 she was part of the Experiencias visuales of the Instituto Torcuato Di Tella and the collective show “Printmaking in America”, at the London Institute of Contemporary Art in England; meanwhile, she had solo exhibitions at the Museos de Bellas Artes in Santiago de Chile and in Caracas. In 1970 she took part in the show “Information” at the Museum of Modern Art of New York. From the 1970s onwards, she began to experiment with traditional engraving techniques. In 1973 she held a solo exhibition in the Project Room at the Museum of Modern Art in New York. In the mid-70s, she began a series of work using mixed techniques, painting on paper and canvas. Without abandoning printmaking, from the 1980s she worked on canvas, incorporating collage and objects, with a strong predominance of photography. In 1991 the Bronx Museum of the Arts dedicated a retrospective to her. She received a Guggenheim fellowship in 1980 and grants from the New York Foundation for the Arts in 1985, among others. She also won several awards, including the Diploma de mérito of The Fundación Konex in 1992 and the Konex Platinum Prize in 2002. Her work has been exhibited in galleries and museums in Switzerland, Italy, Spain, Mexico, Brazil, Uruguay, Puerto Rico, Costa Rica, Panama, Colombia, Venezuela, Canada, and widely throughout Argentina and the United States. Her work is housed in public and private collections throughout the world.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Eduardo Rodríguez
{NOTA_BAJADA}

 Bs. Aires, 1934. Lives and works in Bs. Aires.
Born in Buenos Aires in 1934. He graduated from the Escuela Nacional de Bellas Artes. In 1966 he took part in the Premio de Honor Ver y Estimar, the Premio Braque, and the Premio Nacional of the Instituto Torcuato Di Tella. He was included in the Festival del Plástico in Río de Janeiro in 1967. He won the Premio Criterio de Arte Sacro from the Museo de Arte Moderno de Buenos Aires (1965), he received a prize from “Plástica con plásticos” (1966), and he won 2nd Prize in the Festival Americano de Pintura de Lima (1966). One year later he was included in the exhibit Más allá de la geometría at the Instituto Torcuato Di Tella and in 1968 he was part of the North American version of this exhibit, “Beyond Geometry”, at the Center for Inter-American Relations in New York. In 1968 he traveled to Paris with a grant from the Fondo Nacional de las Artes. Upon his return to Argentina he dedicated to the creation of design items. In 2004 he exhibited at the Centro Cultural General San Martín. In 2010 he presentedMateria-tiempo-movimiento at the Centro Cultural Recoleta.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Osvaldo Romberg
{NOTA_BAJADA}

Bs. Aires, 1938. Lives and works in Filadelfia.
Born in Buenos Aires in 1938. He studied architecture at the Universidad de Buenos Aires, where he dictated a class together with Jorge de la Vega. He produced his first pieces of work using conventional engraving techniques, and he traveled with the Rubbers Gallery to an exposition held at the Pan-American Union in Washington DC. He returned to the United States in 1964. There he was part of the Fandso project organized around the New York Graphic Workshop founded by Luis Camnitzer and Liliana Porter. In 1965, he was part of the 11th Annual Exhibition of Latin American Prints, organized by the Museo de Arte Moderno in Buenos Aires at Armando Zegri’s Galería Sudamericana in New York, meanwhile his work was also presented at the Museo Nacional de Bellas Artes in Buenos Aires. He joined the exposition Estructuras primarias II (1967) and took part in the 1967 and 1968 editions of the Premio Braque, where he won second prize for prints. In 1968 his work was included in the exhibit Materiales, nuevas técnicas, nuevas expresiones at the Museo Nacional de Bellas Artes and he won the Gran Premio Nacional de Grabado. During that year, Jorge Glusberg organized an exposition of his work at the Rubbers Gallery, with the title Hacia lo seriado. In 1969 he took part in Experiencias visuales at the Instituto Torcuato Di Tella. After these exhibits, he moved to Tucuman, where he taught at the Universidad Nacional of that Argentinian province. There, inspired by his studies with Gastón Breyer, he transitioned entirely from conventional printmaking techniques to forms of three-dimensional creation, including the production of several experiences following the Land Art tradition. In 1973 he left Argentina to live in Israel, Philadelphia, and Brazil, gaining extensive experience as a curator, researcher, and docent. Since then, his work has been exhibited collectively and on its own in numerous cities around the world, including Tel Aviv, Berlin, Venice, New York, Chicago, Vienna and Salzburg. He currently lives in Philadelphia, where he has developed an intense teaching career, and works as a consultant at the University of Pennsylvania and a curator at the Slought Foundation.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Kasuya Sakai
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(1927-2001)
Born in Buenos Aires in 1927. The son of Japanese parents, he moved to Japan to study literature and philosophy at the Universtiy of Waseda. He returned to Buenos Aires in 1951 and held his first solo exhibit at the La Cueva Gallery in 1952. In 1957 he became part of the group Siete pintores abstractos and exhibited at the Pizarro Gallery. One year later, he exhibited at the Bonino Gallery of Buenos Aires for the first time. In 1960 he exhibited at the Museo Nacional de Bellas Artes with the Grupo de los Cinco. He lived in New York from 1963 until 1965. During these years, he partook in the following exhibitions in the United States: “Latin America: New Departures”, “Magnet: New York”, “New Art of Argentina”, “The Emergent Decade”. He also participated in the Premio Nacional of the Instituto Torcuato Di Tella (1961) and in Argentina en el mundo. Artes visuales 2 (1965). He formed part of the envoy to the XXXI Venice Biennial. He later left New York to live on the West Coast and in Mexico until 1988. He finally settled in the United States. He worked on the magazine Plural, directed by Octavio Paz, and was a university professor.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Carlos Silva
{NOTA_BAJADA}

 (1930-1987)
Born in Buenos Aires in 1930. A self-taught painter and graphic designer, he exhibited from 1955 on. In 1960 and 1961 he participated in the Premio Ver y Estimar. He later joined the exhibitions Del arte concreto a la nueva tendencia. Argentina 1944-1963, at the Museo de Arte Moderno (1963), Ocho artistas constructivos, at the Museo Nacional de Bellas Artes (1963), “New Art of Argentina” in the United States (1964), the Premio Nacional of the Instituto Torcuato Di Tella (1964 and 1965, when he was awarded First Prize), the VIII São Paulo Biennial, Más allá de la geometría at the Centro de Artes Visuales del ITDT (1967) and the North American version, “Beyond Geometry”, at the Center for Inter-American Relations in New York (1968). He exhibited together with geometric artists in Nuevo ensemble at the Museo Nacional de Bellas Artes, and throughout the decade of the seventies in shows organized at the Van Riel, Pizarro, Witcomb, Bonino, and Ronald Lambert galleries. In 1972, he joined forces with other artists to generate Proyección y dinámica, at the Museo de Arte Moderno in Buenos Aires. In the early eighties, he joined the Grupo de la abstracción sensible together with Manuel Espinosa, Mercedes Esteves, Gabriel Messil, Rogelio Polesello, Alejandro Puente and Luis Alberto Wells, among others.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Juan Stoppani
{NOTA_BAJADA}

Bs. Aires, 1935. Lives in France.
Born in Buenos Aires in 1935. Although he studied and received his degree in architecture, he has dedicated himself entirely to sculpture and set design. In November of 1964, he participated in the exposition Objetos 64, at the Museo de Arte Moderno de Buenos Aires. One year later, he took part in Microsucesos with the Siempre Viva group, of which he was a member. He joined the Premio Ver y Estimar exhibit in 1965 and the following year he partook in the Premio Nacional of the Instituto Torcuato Di Tella. In 1966 he received the Premio Braque and joined the First Festival of Contemporary Forms held in the city of Córdoba in response to the American Biennial of Art, held in the same city. After that, he was invited to partake in Experiencias visuales organized by the Instituto Torcuato Di Tella in 1967 and 1968. That last year, his work was included in the exposition Nuevo ensamble at the Museo Nacional de Bellas Artes. In 1969 he participated in the “Fashion Show Poetry Event”at the Center for Inter-American Relations in New York, and then moved to Paris. There he became part of the theater group dominated by the Parisian vanguard called TSE, together with Alfredo Rodríguez Arias. He participated in Richard Peduzzi’s set design program. For years, he collaborated on the production of various shows in Paris, under the direction of Copi, Jean Louis Barrault, Jerôme Savary, Roland Petit and Jorge Lavelli, among others. In the 1980s, he went on to assemble and design clothes and costumes for the underground circuit in Paris. He currently resides in the French city of Kernével.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Miguel Ángel Vidal
{NOTA_BAJADA}

(1928-2009)
Born in 1928. A painter, publicist, and projectician, he graduated as a Professor of Visual Arts from the Academia Nacional de Bellas Artes and exhibited his work from 1956 on. In 1960 he signed the Declaración de principios del arte generativo along with Eduardo Mac Entyre and they exhibited together at the Peuser Salon, under the auspices of the Museo de Arte Moderno. The following year, he participated in the Premio Ver y Estimar and later in Del arte concreto a la nueva tendencia at the Museo de Arte Moderno (1963), Ocho artistas constructivos at the Museo Nacional de Bellas Artes (1963), “New Art of Argentina” at the Instituto Torcuato Di Tella and the Walker Art Center of Minneapolis (1964), the VIII São Paulo Biennial (1965), the Premio Nacional Torcuato Di Tella (1966), Plástica con plásticos, at the Museo Nacional de Bellas Artes (1966), the III American Biennial of Art in Córdoba, Argentina (1966), Más allá de la geometría (1967) and “Beyond Geometry” (1968), Materiales, nuevas técnicas, nuevas expresiones, at the Museo Nacional de Bellas Artes (1968) and “Four New Argentinian Artists” together with Ary Brizzi, Eduardo Mac Entyre and Rogelio Polesello at the Bonino Gallery in New York (1968). In 1970, he returned to exhibit in the United States with the show “Latin American Paintings and Drawings from the Collection of John and Barbara Duncan”at the Center for Inter-American Relations in New York. In 1972 he organized the show Proyección y dinámica together with Eduardo Mac Entyre, Ary Brizzi and Carlos Silva at the Museo de Arte Moderno. The show later traveled to Paris, where it was joined by Manuel Espinosa and Miguel Ocampo. Throughout the following decade, he continued to exhibit his work in Argentina and abroad.

{NOTA_FUENTE_LABEL}:
{NOTA_FUENTE}

Luis Wells
{NOTA_BAJADA}

Bs. Aires, 1939. Lives and works in Bs. Aires.
Born in Buenos Aires in 1939. He studied at the Escuelas Nacionales de Bellas Artes. In 1958 he had his first solo show at the Galatea Gallery. That year, he joined the informalist movement. In 1960 he started making his first “objects” and exhibited in the Primera Exposición Internacional de Arte Modernoat the Museo de Arte Moderno de Buenos Aires, in 14 pintores de la nueva generación at the Lirolay Gallery, and in 150 años de arte argentino at the Museo Nacional de Bellas Artes. That same year, he was part of the Premio Nacional of the Instituto Torcuato Di Tella. In 1961, he partook in the Premio Ver y Estimar, in the exhibit Arte argentina contemporânea in Río de Janeiro, Brazil, in the exposition Arte destructivo at the Lirolay Gallery, and in the International Biennial of Young Artists in Paris. In 1962, he participated again in the Premio Ver y Estimar, the Premio Internacional of the Instituto Torcuato Di Tellaand the exhibit Collage, at the Lirolay Gallery. In 1963 he joined the group Boa-Phases and was part of their exhibit at the Van Riel Gallery. In 1964 he exhibited in Objeto 64, at the Museo de Arte Moderno and in the show Buenos Aires 64. In 1965 he was included in Noé+experiencias colectivas at the Museo de Arte Moderno. In 1966 he moved to London and later settled in New York, where he remained for nine years. In 1975 he returned to Buenos Aires. He joined the Grupo de la abstracción sensible. In 1989 he won the Gran Premio de Honor at the Valparaíso Biennial in Chile. He held solo exhibits in Rio de Janeiro (1987), in Buenos Aires (1988), in Santiago de Chile (1989), in Caracas (1993) and in the Rubbers Gallery of Buenos Aires (1998), among other venues.

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