Letra y Línea. Revista de cultura contemporánea. Artes plásticas. Literatura. Teatro. Cine. Música. Crítica. [Letter and Line. Magazine of Contemporary Culture. Visual Arts. Literature. Drama. Cinema. Music. Criticism] was a contemporary culture publication edited by Aldo Pellegrini (1903-1973) whose four issues appeared between October 1953 and July 1954. Its collaborators included Edgar Bayley (1919-1990), Osvaldo Svanascini (1920), Oliverio Girondo (1891-1967), Mario Trejo (1926), Enrique Molina (1910-1997), Juan Carlos Paz (1897-1972), and Norah Lange (1906-1972), among many others. The survey’s agenda was based on the following questions: 1) What is the fundamental nature of painting in your opinion?; 2) Where is modern painting headed?; 3) Is there such a thing as Argentinean painting?; 4) Do you believe in the previous generation? Tomás Maldonado (1922), Sarah Grilo (1921-2007), José Manuel Moraña (1917-2005), Fernández Muro (1920), Juan Cerdá Carretero, Ideal Sánchez (1916-1988), Lidy Prati (1921), Víctor Magariños “D” (1924-1993), and Miguel Ocampo (1922) responded to the survey. Born in 1917, José Manuel Moraña was an Argentinean painter who obtained scholarships to study in Paris, Mexico, and Madrid. His friendships with certain surrealist artists awakened an interest in this trend, within which he worked via a technique that he called “innocent automatism.” His compositions gave priority to the gaze and to the eyes, as well as the figures of birds and bulls. He also worked as a teacher and eventually became the President of the Escuela Nacional de Bellas Artes [National School for Fine Arts]. This article was selected because it documents a young artist’s opinion regarding the debates that were then mobilizing the Argentinean artistic field at the moment abstraction was being consolidated.