The Grupo de Arte de Vanguardia de Rosario—created by a fusion of three workshops, with artists from different artistic organizations (alumni from Juan Grela, the Grupo Taller, and recent graduates of the Escuela de Bellas Artes de la Universidad)—initiates its public collective actions and position statements at the end of 1965. Two years later, the group acquires more cohesion and is acknowledged as one of the most dynamic experimental art groups in the country. The Ciclo de Arte Experimental [Experimental Practices of Art Series], planned for the early 1968, began in May inside a space that was given to the group by an advertising agency. A short time later, the Instituto Di Tella from Buenos Aires granted it a subsidy that allowed the group to rent a small glass space inside a commercial gallery. Every two weeks, until October 1968, the group would stage an exhibition proposed by one of its members.
The last three presentations of the Ciclo (by Eduardo Favario, Rodolfo Elizalde / EmilioGhilioni, and Graciela Carnevale) were, in some ways, the most radical expression of the group’s anti-formalist and anti-institutional stance.
On September 9, 1968, Eduardo Favario staged an event that consisted of closing the gallery. The people who came to the opening found the place closed and apparently abandoned; the door was taped over with closure notices that (unbeknownst to the exhibition-goers) had been placed there earlier by Favario himself. A poster instructed people to take a specific route to the Signo bookstore at another gallery. In this way, the artist prompted a walk through the streets, an itinerant action consisting of an orchestrated excursion in the city.