Luis Felipe Noé delves into the work of Carlos Torrallardona as a search for geometry within reality. Also, Noé reviewed the exhibition by five artists at the Galería Peuser to establish the nexus between surrealism and abstraction, particularly in the works of Osvaldo Borla, Víctor Chab, and Roberto Rosenfeldt. Lastly, Noé wrote on the distinction between what is substantial and what is dreamlike with regard to the aforementioned artistic movements. 

In the early 1950s, Luis Felipe Noé (Buenos Aires, 1933) began his training with Horacio Butler (figurative artist of the renovation group of Paris during the 1930s). His first exhibition was in 1959. In 1961, he exhibited at the Galería Peuser together with Ernesto Deira, Rómulo Macció, and Jorge de la Vega; it was the exhibition of the group Otra Figuración [Other Figuration] that jointly exhibited until 1965. Noé was known, as well, for his theoretical reflections on art in a contemporary society; among his definitions, his consideration of chaos as a structure of the work was pivotal. Among his books are Antiestética [Anti-aesthetics] (Buenos Aires: Editorial Van Riel, 1965) and Una sociedad colonial avanzada [An Advanced Colonial Society] (Buenos Aires: Ediciones De La Flor, 1971).

During the second half of the 1950s, a significant renovation in the visual arts took place in Argentina. This process forced an understanding that language be brought up-to-date, as far as art criticism was concerned. This document includes a set of articles encompassing art reviews written by Noé in 1956. These were published in the newspaper El Mundo [The World] (edited between 1928 and 1967, being the first in tabloid format in Argentina that became popular due to their graphic comic strips).

This document is important for understanding how the young Noé pondered the relationship between surrealism and abstraction.