Ever since it was founded, the CAYC (Centro de Arte y Comunicación), helmed by the cultural promoter, artist, and businessman Jorge Glusberg, was intended as an interdisciplinary space where an experimental art movement could flourish. The establishment of collaborative networks connecting local and international artists and critics played an important role in this process. The exhibitions shone a light on these exchanges, in which overviews of trends or individual artists provided an introduction to the innovations of international contemporary art and made Argentine and Latin American artists better known on the global scene.
After being shown in Arte y Cibernética (1969) at the Galería Bonino in Buenos Aires, the works produced by the Argentinean artists were presented at different institutions with a varying list of participants (see GT-23 [doc. no. 1476279], GT-24 [doc. no. 1476281], GT-63 [doc. no. 1476298], GT-240 [doc. no. 1476436], GT-401 [doc. no. 1476536]). The artists received technical assistance from the IBM engineers Ricardo Ferraro and Julio Guibourg and the architect Arturo F. Montagú from the Universidad de Buenos Aires.
The first edition presented works by Luis Fernando Benedit, Antonio Berni, Ernesto Deira, Eduardo Mac Entyre, Osvaldo Romberg, and Miguel Ángel Vidal. On this occasion, the list was expanded to include works by Gregorio Dujovny, Rogelio Polesello, and Norma Tamburini, which demonstrated the results of computer-assisted creativity. The newsletter mentions that the exhibition Creatividad Artificial was organized with the support of Abraham Moles, an authority on the Theory of Communication who had been associated with the CAYC since its early days.
