When Pablo Mañé Garzón (1921–2004) interviewed Germán Cabrera (1903–90) in 1966 [see in the ICAA digital archive “Jóvenes en la plástica. Una generación de colonos” (doc. no. 1250204)], his main goal was to discuss their respective views of the Bienal de Córdoba [see “La Bienal sudamericana de Kaiser argentina” (doc. no. 1248593)]. The interview did not delve into the connections between the controversial event (that was sponsored by the IKA automotive company in Argentina) and North American capital ties to local political interests. Instead, Cabrera preferred to talk about what he saw as the international art community’s joint interest in the biennials, whether they were held in Venice, São Paulo, or Córdoba, Argentina. Speaking from that perspective, he described them as “an extended family” of “anti-academic experimenters” who, through their repeated guidelines, ended up creating another kind of academy. In the author’s opinion, these events spawned a “boldness” for its own sake that continues to exist and occasionally creates an unprecedented “freshness” as well as an “empty rhetoric.” When asked about the influences that nurture these new styles and movements, he mentions informalism, post-pop, and the alternatives to op-art provided by kinetic art. Regarding the latter, he mentions Carlos Cruz-Diez (b. 1923) and Jesús Rafael Soto (1923–2005), two towering figures in Venezuelan kinetic art who lived in Paris, where Cabrera also lived.