The note presents the group as a conglomeration of “sniper artists” from Rosario that provokes strong shock in the sleepy local culture. It describes the reactions of the surprised public to the event proposed by Puzzolo: an inverted audience with chairs arranged in front of a store window where members of the public could sit and view the street, and where, in turn, pedestrians could observe them. The article continues with Lía Maisonnave, who intervenes only on the floor of the exhibition, forming a black and white square over it. Third, it mentions artist Fernández Bonina, who joins in laying down lofty prohibitions against smoking and talking in the room. Last, it mentions the fact that NoemíEscandellalsopresents an installation with posters and busts of the national heroes. The note ends with a comment about the indifference, as well as the frank hostility, with which the local milieu reacted to such audacious manifestations. Two sides of the process are presented here: on the one hand, the lucidity of the vanguard groups emerging in Argentina, and, on the other hand, the reaction of one city—like Rosario—that is not informed about the cultural challenges that “supporting a group of national transcendence” could bring to the fore.

The Grupo de Arte de Vanguardia de Rosario—created by the fusion of three workshops with artists from several artistic organizations (alumni from JuanGrela, the GrupoTaller,and recent graduates from 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 has acquired more cohesion and is recognized as one of the most dynamic experimental art groups in the country. At that time, it is comprises Osvaldo Mateo-Boglione, Aldo Bortolotti, Graciela Carnevale, Rodolfo Elizalde, Noemí Escandell, Eduardo Favario, Fernández-Bonina, Emilio Ghilioni, Marta Greiner, José M. Lavarello, Lia Maisonnave, Rubén Naranjo, Norberto Púzzolo, Juan Pablo Renzi, and Jaime Rippa.

The Ciclo de Arte Experimental [Experimental Art Cycle], 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.   

Rosario’s Boom journal carried out an extensive, collective feature about the group, where it describes in detail the happenings proposed by Norberto Puzzolo, Lía Maissonave, Fernández- Bonina, and Noemí Escandell.