Luis Felipe Noé begins with the notion that the artistic milieu in which he operates is still in formation, just as the artists of the Grupo Buenos Aires come together through their relation with the societal background. In his judgment, art is just as much a means to knowledge (subtlety) as a method of communication (feeling); because of this there is no clash between the rational and the sensorial. The factor of objective union in the Grupo Buenos Aires is its nexus with the immediate world, whether to discover its subtlety, or to enter into it.

Luis Felipe Noé (Buenos Aires, 1933) began his studies with the painter Horacio Butler at the beginning of the 1950s, mounting his first exhibition in 1959.  In 1961 he had a group exhibition as Otra Figuración [Another Figuration] at the Galería Peuser in conjunction with Ernesto Deira, Rómulo Macció and Jorge de la Vega. The group exhibited together until 1965. Noé stood out among the group due to his theoretical reflections on art in contemporary society. Among his central tenets was the idea of “chaos as structure” of an artwork. Notable among his publications are Antiestética [Anti-aesthetic] (Buenos Aires: Editorial Van Riel, 1965) and Una sociedad colonial avanzada [An Advanced Colonial Society] (Buenos Aires: Editorial La Flor, 1971).  

The Buenos Aires group was made up of Juan Carlos Benítez, Roberto del Villano, Jorge Luis Duhalde, Antonio García Videla, Felix González Mora, Arturo Irureta, Hugo Irureta, Rodolfo Krasno, Enrique Matticoli, Juan Otero, Flora Rey, Juan Carlos Rodríguez, Stefan Storcen y Ventura Valente. Noé’s relation to the group was principally with Rodolfo Krasno, who motivated him to mount his first show at Galería Witcomb in 1959.   

The present document represents a transition from his art criticism to the theoretical writings of the 1960s.