In this article, Aldo Pellegrini recognizes a link between Surrealist art and Abstract art prone to expression. In this sense, he also considers it possible to establish this same relationship with the Concrete artist. Although the latter rises out of geometric principles, in his judgment, from the moment these are brought to bear on the work, the artist appeals to the same intuitive factor that the Abstract-Expressionist artist uses. In this way, both Max Bill and Jackson Pollock manifest an interior image that attains its concrete aspect in the exterior world. In other words, they both present a new reality.

Aldo Pellegrini (Rosario 1903–Buenos Aires 1973) was a distinguished poet, playwright, essayist, and art critic within Argentinean cultural circles. From the beginning, he was linked to the development of Surrealism, and he also directed various publishing projects. Pelligrini also supported and publicized various aspects of abstract art, promoting some groups such as Artistas Modernos de la Argentina and the Asociación Arte Nuevo. 

The nine issues of the magazine nueva visión [New Vision] were designed to serve as a space of redefinition and diffusion for Concrete art. The magazine circulated from December 1951 to 1957 with Tomás Maldonado (1922) serving as director. Although the writers’ committee varied in composition throughout the years, the participants included Carlos Méndez Mosquera, Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E., J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito (1923–1993), the architect Horacio Baliero, and Edgar Bayley (1920–1990). 

This document was selected because it is a key source for understanding the links that Aldo Pellegrini established between abstract art and Surrealism: two artistic currents that he supported as an art critic.