In 1960 a few months after the creation of the Centro de Arte del Instituto Torcuato Di Tella (ITDT)—directed by a council comprised of Lionello Venturi, Ricardo Camino, Guido Di Tella, and Jorge Romero Brest—the Premio Instituto Torcuato Di Tella was founded. The Centro’s mission was to cooperate in the diffusion and promotion of the visual arts and to maintain contact with other centers linked to national and foreign production. Within this framework, the Premio ITDT was created with the intention of giving an opportunity to young Argentine artists to enrich their experience abroad; nevertheless, it not only awarded the scholarship prize but also favored the dissemination of international art within the local milieu, thus converting itself into an important referent for the renewal of the arts at that time. Up to 1967 the prize was awarded to national and international artists, with some variation depending on the year. Afterward it became Experiencias Visuales [Visual Practices], calling itself only Experiencias in 1968 and 1969.In 1963, Romero Brest resigned his post as the director of the Museo Nacional de Bellas Artes and became the director of the Centro de Artes Visuales at the ITDT. In 1967 the Premio ITDT became international [in scope] and the juries were composed of: Romero Brest, Jacques Lassaigne, and William Sandberg. The participating foreign artists were: Pierre Alechinsky, Janez Bernik, R.B. Kitaj, Maryan, Hans Platschek, Achille Perilli, Paul Rebeyrolle, Larry Rivers, Antonio Saura; the participating Argentine artists were: Mario Pucciarelli, Clorindo Testa, and Rómulo Macció (previous winners) and Roberto Aizenberg, Osvaldo Borda, Aníbal Carreño, Ernesto Deira, Luis Felipe Noé, Rogelio Polesello, Rubén Santantonín, Antonio Seguí, Silvia Torras, and Jorge de la Vega (selected for this occasion).This document shows how the Premio Torcuato Di Tella functioned, especially as to how the continuation of the international competition permitted the dissemination of works by the most innovative foreign artists of the time. It also promoted the integration of national artists within the context of the Premio and with the jury; so that this document demonstrates the will that brought esteemed critics and directors of international institutions together in order to recognize the Argentine cultural scene.