The critic considers that the relevance of Surrealism lies in the fact that it is not an artistic but an ideological movement; it is in art where it finds itself justified. Pellegrini analyzes, among others, several aspects such as humor, desire, imagination, and automatism, underlining that, essentially, Surrealism has two faces: una afirmadora [liberty, love, poetry], and another negative [coercion, squalor, hypocrisy]. He also remarks that Surrealism does not represent an escape from reality but an affirmation, even though it is constantly in conflict with the world. Within this framework, it is not a closed movement but, because of its experimental nature, it incorporates informal manifestations after the Second World War, as well as a “phenomenon of scattering.” For this reason, in his opinion, some tendencies such as Informalism, Pop, and Neofiguration, present vestiges of Surrealist influence. Finally, Pellegrini clarifies that the show presented in the text was planned with a didactic criteria, marking a chronology of the artists that worked within the tendency and illustrated in that show.

Aldo Pellegrini (1903–1973) was a poet, playwright, essayist, art critic, and a prominent influence on Argentine culture. Linked to the development of Surrealism from its inception, he directed several editorial projects. Pellegrini also supported and expanded the various trends of Abstract art, encouraging groups such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and the Asociación Arte Nuevo [The Association of New Art].The following artists participated in Surrealism in Argentina, presented at the Centro de Artes Visuales del Instituto Torcuato Di Tella [Center for Visual Arts of the Torcuato Di Tella Institute] on June 9-28, 1967: Xul Solar, Juan Battle Planas, Roberto Aizenberg, Miguel Caride, Luis Fernando Benedit, Antonio Berni, Juan Campodónico, Carmelo Carrá, Jorge Dellepiane, Enrique Molina, Noé Nojechowiz, José Planas Casas, Emilio Renart, Jorge Tapia, Luis Barragán, Vicente Forte, Juan Fuentes, José Manuel Morana, Ideal Sánchez, Osvaldo Borda, Víctor Chab, Juan Carlos Langlois, Carlos Lesca, Lea Lublin, Néstor Cruz, Marta Peluffo, Rogelio Polesello, Julio H. Silva, Luis Alberto Wells, Jorge Demirjian, Jorge de la Vega, Juan Carlos Distéfano, Rómulo Macció, Ricardo Mampaey, León Ferrari, Alberto Heredia, Eric Ray King, Casimiro Domingo, Martha Zuik. The catalogue includes a presentation by Jorge Romero Brest.  This text was selected because it is a document of the presentation of the show on Surrealism in Argentina organized by Aldo Pellegrini. In it he included a variety of artists, among them the creators of objects such as Renart and Heredia, and he assigned a special place to Macció, de la Vega, Demirjian and Distéfano, artists he considered related to surrealist neofiguration.