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. In addition to the exhibitions, a program of different activities provided viewers with a greater chance of seeing the latest innovations in art and scientific thought. According to Glusberg, the coordination between theoretical thinking and artistic practice was a key factor in the achievement of social change.
Starting in 1970 and 1971, Jasia Reichardt, the associate director of the Institute of Contemporary Art (ICA) in London, visited the CAYC in Buenos Aires together with the artist Willoughby Sharp, Charles Spencer (Director of the Camden Arts Centre, also in London), and the English critic Charles Harrison. This was the beginning of a series of art exchanges that took place throughout the 1970s. Reichardt (b. 1933), the art critic, curator, and gallery owner who was originally from Poland, took part in a roundtable discussion and gave two lectures at the CAYC (GT-16; doc. no. pending) as part of the activities organized to coincide with the exhibition CAYC al aire libre. Escultura, follaje y ruidos in November 1970.
Reichardt was the curator of Cybernetic Serendipity, the paradigmatic exhibition of computer-generated art at the ICA in London in 1968, an event that presented works created by artists, architects, engineers, and mathematicians who worked with research companies and institutions. This was a pioneering project that explored the links between art and technology; it was in fact one of the inspirations for Arte y Cibernética, the exhibition organized by the CAYC at the Galería Bonino in Buenos Aires in August 1969.
