La Campana de Palo [The Wooden Bell] (Buenos Aires) published its first six issues between June and December 1925. After a period of not being published, it reappeared in September 1926, with a continuous numbering, although with different formatting and a new subtitle, Periódico Mensual. Bellas Artes y Polémica [Monthly Newspaper. Fine Arts and Polemics]. During this second period, lasting until September–October 1927, eleven issues were published. It was directed by art critic and anarchist writer Atalaya (also known as Alfredo Chiabra-Acosta) as well as by the painter and engraver Giambiagi. By around 1924, two literary groups began to be identified as stemming from different neighborhoods and districts in Buenos Aires. One of these, the working class neighborhood of Boedo, served to identify the leftist writers, the majority of them linked to Claridad Editorial, a publishing house that took care of promoting authors that were socially and politically committed. For its part, Florida Street was considered the most elegant one in the city, with art galleries, photography halls, luxury shops, and cafés; it was associated with writers who advocated for change in the aesthetic standards in accordance with the proposals of the avant-garde. In this sense, it was also associated with a renovation in arts and literature. Traditionally, this division and opposition between Florida and Boedo served to define ideological stances and aesthetic standards. Among the figures tied to the Boedo group are Álvaro Yunque, Elías Castelnuovo, Roberto Mariani, and César Tiempo. The Florida group’s members were Ricardo Güiraldes, Oliverio Girondo, Jorge Luis Borges, and Leopoldo Marechal. La Campana de Palo, however, did not identify with either group.