The frequent criticisms of the TTG (Taller Torres García [Torres Garcia Workshop]) throughout the Fifties center on the “lack of innovation” and “creativity” reflected by the work of the students who reiterated the master’s formulas. Faced with this situation, the members of the TTG, who at that time were supported by their main professors José Gurvich, Augusto Torres, Guillermo Fernández and Francisco Matto, reacted with a critique on the criticism. They argued against the fallacy that, in their view, encapsulated the term “innovation”, while the new abstract art followed various international “trends” seeking a formal novelty without paying attention, in any sense, to the great moral responsibility to art. These critics are considered frivolous and amateurs by the TTG, because they confuse “non-figurative art, “abstract art” and “geometric art.”
Verified at the time in Montevideo was the consolidation of an abstract art in the sense of a “non- figurative” Art with the exhibition that took place in 1955 and with the new techniques of geometric art. To a significant extent, all of which derived through contacts with the Argentinean and Brazilians concrete artists that emerged with great notoriety that decade.