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.
1972 was a pivotal year in the CAYC’s international campaign to promote the exhibition Arte de Sistemas as a trend associated with the center. That May it embarked on a tour that took it to a number of cities in Latin America (Medellin, Lima, Buenos Aires) and Europe (Pamplona, Brussels), with a varying list of guest artists at each stop. CAYC publications supported exhibitions, providing important information about experimental art.
Several artists from Hungary showed their work at Arte de Sistemas Internacional (Museo de Arte Moderno de Buenos Aires). On his many visits to East European countries, Glusberg developed relationships with artists and, especially, art critics in Hungary (László Beke, Janusz Bogucki) and Poland (Jan Swidziński and Andrzej Partum). That network led to the organization of exhibitions about those countries at the CAYC, one of which was Festival de la vanguardia húngara. Those links to countries in what was referred to as the Socialist Bloc had a significant impact on the CAYC’s international strategy by including works by “Third World” artists in a joint evolutionary undertaking that, as Glusberg said, had revolutionary potential and a tangible need to change society.