In this text, critic Aldo Pellegrini points out that Rogelio Polesello’s work has begun moving away from an initial tendency toward pure formal spectacle and, now, is approaching the search for spontaneous gesture, although a peculiar sense of order always remains. Although Pellegrini stresses the presence of the gestural, the wondrous, and the surprising, he also points out that Polesello is able to achieve a synthesis of opposing factors by taking advantage of order. In this sense, Polesello contemplates something permanent that would allow him to maintain control over the panoply of wonders. It brings to light the visual spectacle resulting from the embodiment of some qualities such as shudder and vertigo. 

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 [Modern Artists of Argentina] and Asociación Arte Nuevo [New Art Association]. 

Rogelio Polesello is an Argentinean painter and sculptor born in Buenos Aires in 1939. His work is characterized by geometric forms, linear interweaving, color interplays, and optical distortions generated, in many cases, by the use of acrylic sheets. 

This prologue introduced the exhibition Rogelio Polesello Pinturas 62/63 [62/63 Paintings by Rogelio Polesello] held at Galería Riobóo in Buenos, November 29–December 14, 1963. 

This text was selected because it documents Pellegrini’s appreciation of the spontaneity with which Polesello worked, mainly allowing him a key issue by means of which the work is freed of rational hindrances. This esteem resulted from the critic’s analysis of his geometrically based works.