Martín Fierro (1924–27) occupied an important place among the great proliferation of magazines of the Argentinean avant-garde published during the 1920s, and even more so within Buenos Aires itself. It was edited by Evar Méndez, although in 1925 Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch also participated in the editorial duties. Among its contributors were key Argentinean writers, including Girondo, Ricardo Molinari, Leopoldo Marechal, and Jorge Luis Borges, as well as the artists Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro ceased to be published when, during the presidential candidacy of Hipópolito Yrigoyen, the group’s members became divided between those who wanted to introduce politics into the magazine and those who did not. This internal bickering led to the demise of the publication. It is important to note that Martín Fierro was perceived by contemporaries as being representative of the Argentinean "vanguard." Oliverio Girondo (1891–1967), a prominent Argentinean poet connected to the literary renewal in 1920s Argentina, wrote numerous books of poetry, among which Veinte poemas para ser leídos en el tranvía [Twenty poems to be read in the streetcar] (1922), Calcomanías [Decals] (1925), and Espantapájaros [Scarecrow] (1932) were the most well known. Girondo’s Carta abierta, a ‘La Púa’ is dated 1922, while in Paris. The letter itself is considered the original grounds from which the manifesto of Martín Fierro stems from and was also written by Girondo. "La Púa" [The Thorn] was a forum for discussion and polemics about art, literature, and so on, that alternated its meetings between Buenos Aires and Paris. The members of this group were, from 1921 on: Girondo and his brothers Alberto and Rafael, Evar Méndez, Raúl Monsegur, René Zapata Quesada, Vicente Martínez Cuitiño, Rafael Crespo, the Viscount Lascano Tegui, Absalón and Nerio Rojas,Adán Diehl, Ricardo Güiraldes, and Alfredo González Garaño.
