According to the Uruguayan artist Julio Verdié—a member of the board of directors of the C.T.I.U. (Confederación de Trabajadores Intelectuales delUruguay [Confederation of Intellectual Workers of Uruguay]) founded in Montevideo in 1933, the second exhibition carried out by the C.T.I.U. in the Uruguayan capital had already established “a humanistic visual arts, that was new” and accessible to the general public. The phrase summarized one of the main objectives of the confederation that proposed to use art as an instrument of political persuasion and to provide the popular masses access to it.

The C.T.I.U. (Confederación de Trabajadores Intelectuales del Uruguay [Confederation of Intellectual Workers of Uruguay]) was founded in May of 1933 in Montevideo, at the initiative of David Alfaro Siqueiros (1896–1974) and the Uruguayan Blanca Luz Brum (1905–1985), his partner at the time. Both had arrived in the city toward the end of February that year. Shortly thereafter, in April, Siqueiros went to Buenos Aires, assigning Blanca Luz Brum the task of founding the C.T.I U., along with a group of Uruguayans artists, including Guillermo Laborde (1886–1940), Julio Verdié (1900–1998), Norberto Berdía (1900–1983), the poets Basso Maglio (1899–1961), Juvenal Ortiz Saralegui (1909–1959), and Ildefonso Pereda Valdés (1899–1996). This effort involved creating by-laws and conditional clauses conducive to editing its editorials and publications, and numerous editions by its press agency. The publication was initially named Aportación and later changed to Movimiento. The artist Julio Verdié (1900–1988) brings to light the changes and innovations in the visual arts that took place at the second exhibition of the C.T.I.U. Blanca Luz Brum, together with a group from the Uruguayan artistic circle, including Guillermo Laborde (1886–1940), [Julio] Verdié himself, Norberto Berdía (1900–1983), Basso Maglio (1889–1961), Juvenal Ortiz Saralegui (1909–1959), and Ildefonso Pereda Valdés (1899–1996) who founded the C.T.I. U. and its press agency, initially named Aportación and later changed to Movimiento. At the second exhibition of the C.T.I.U., innovative works were exhibited illustrating a “humanistic visual arts” accessible to all audiences and marked by a simple aesthetic and a complex content of social claims and demands.” “And it is upon this pure and strong diamond” and “on the heroic attitude of the people who struggle for the most elementary demands, that these artists will continue to work with effort,” the author points out. In line with the objectives of the C.T.I.U. (and in accordance with the Soviet directives emanating from the Comintern or The International Communist organization that advocated world communism), Verdié asserts that art implies social utility, defining “utilitarian art” (useful rather than attractive) as opposed to what was then considered “art-purism/stylistic purification.”