“El collage social” (Social Collage) by Juan Castillo appeared in Ruptura; documento de arte (Rupture: Art Document, 1982), a tabloid run of two hundred copies published by CADA that included programmatic texts written by the group, its members, and by other artists. The publication itself functioned as a theoretical support and a means of extending the group’s actions, thus becoming a disruptive publishing effort in its own right that demonstrated the integration of literature and the visual arts that was the hallmark of the group’s agenda.
CADA (Colectivo Acciones Arte, Art Actions Collective), which was active from 1979 to 1985, was an interdisciplinary group that included the visual artists Lotty Rosenfeld and Juan Castillo, the writer Diamela Eltit, the poet Raúl Zurita, and the sociologist Fernando Balcells. They staged their performances and art actions in public spaces to condemn the conditions imposed by the authoritarian military dictatorship (1973–90). Their demands for greater opportunities for action and creativity always included an underlying criticism of the de facto institutions. Castillo was a member of the group of artists who were dubbed the Escena de Avanzada by the art critic Nelly Richard.