Argentinean writer, publisher, curator, and professor, Jorge Glusberg presented this article in 1978 at the Latin American symposium Arte Argentino 78. In the article, he explains that the study of semiotics has led to a new understanding of the relationship between the signifier and the signified in art, and he claims that art is no longer representative or descriptive, but “productive.” He emphasizes the transgressive nature of works that do not deliver a determined meaning, but generate a self-reflexive examination of the nature of art. Glusberg claims that Argentinean art is distinguished by its reference to its “conditions of production,” or to the artistic platform developed by the artist in reaction to the social, cultural, and economic context in which the creator works and lives. The conditions that influence an artist’s work can be objective and external or subjective and internal. Glusberg asserts that art should be interpreted based on these subjective, internal concerns, which nonetheless are generated by external and objective realities. He further contends that Argentinean artwork often incorporate themes related to the “conditions of production,” however, more importantly, the artwork represents or becomes a signifier for the country of origin, and the context of the production. Glusberg argues that although Argentinean art examines local issues and discourses, it is universal in the sense that the artistic language utilized is not unique to Argentina. He also contends that every country works with a limited repertoire of signifiers that function distinctly in each local context. This lack of specificity allows works to be read in different social and physical contexts. Finally Glusberg emphasizes that there is an “Argentinean problematic” in art, but that as much as Argentinean art forms a single entity, it is also part of a larger system of signification.