This text, first of all, characterized the state of man in the world at the end of the twenties: a “mechanical doll,” the “definitive victim of a familiar architectural reptile” that is “Civilization” and whose consequences are melancholy and dissatisfaction, etc. From this state, this article presents the edition of Que “not […] simply as a group of people that have a mission to publish a magazine […] but as an attempt to CONTAIN, EXPLAIN, AND IF POSSIBLE RESOLVE, THE STATE OF SPIRIT EXCEPTIONALLY ABUNDANT IN THIS ‘little bit.’”

Qué (Revista de interrogantes) constituted the first manifestation of Surrealism in Argentina as well as the first in Latin America. Led by Aldo Pellegrini and Elías Piterbarg, it only put out two editions: the first in November 1928 and the second in December 1930. In its day, the publication did not have much importance; it seemed that this was on account of the long period between its only two editions, and because the second one appeared after the 1930 coup that removed President Hipólito Yrigoyen from office. This publication is significant because Surrealism did not have any significant repercussions in Argentina until the end of the twenties and the start of the following decade. In this sense, Qué (Revista de interrogantes) and the work of Antonio Berni are seen as belonging to the Surrealist cycle (presented in Buenos Aires in 1932), constituting two key milestones.In Qué (Revista de interrogantes), the participants were Elías Piterbarg (under the pseudonyms “Esteban Dalid” and “Felipe Debernardi”), Aldo Pellegrini (under the pseudonym “Adolfo Este”), Mariano Cassano (under the pseudonym “Julio Laureha”), Ismael Piterbarg (under the pseudonym “Raúl Pombo”), and David Sussman (under the pseudonym “Julio Trizzi”). Pellegrini (1903-1973) later became one of the most important critics of the arts in Argentina. In 1967, he was the organizer of the exhibition Surrealismo en la Argentina.