This introductory text for Lea Lublin’s work emphasizes that the formal and informal universes are contrasted in her paintings, as are violence and lyricism in order to reflect the panic of a world populated by monsters and threatened by disintegration. Nevertheless, the critic maintains that such piercing works manifest a certain hopeful vision, both in their warm vibration of colors and the sensuousness of their materials. 

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]. 

Lea Lublin (1929–99) was an Argentinean artist who resided in Paris for many years. Her work stood out for its use of mechanical devices (such as cameras or screens) in her conceptual proposals. On occasion, she sought to replace conventional contemplation for a sort of participation that involved all the visitor’s senses (sight, smell, tough, taste). 

In addition to Pellegrini’s foreword, the Lea Lublin exhibition catalogue includes a brief text by Jean Cassou (1897–1986), director of the Museo de Arte Moderno in Paris. The show was held at Galería Riobóo, August 27–September 9, 1963. This text was selected because it documents Aldo Pellegrini’s critical opinion of the artist’s work, emphasizing the constant dialectical game in play within Lea Lublin’s creations.