This brief but significant assessment of Tucumán Arde [Tucumán is Burning] entitled “Límites de lo legal” [The Limits of Legality] was published in the magazine Sobre Nº 1. The text, that was signed by the Grupo de Artistas de Vanguardia of the Comisión de Acción Artista de la CGT de los Argentinos (Confederación General del Trabajo) [The Commision for Artistic Action of the Argentinean People’s General Work Confederation], defines Tucumán Arde as a “direct action taken to produce a political event.” It maintains that the police closure of Tucumán Arde in Buenos Aires reveals the risks of working too openly. The text concludes that the risks of police intervention on union premises call for new actions by means of “radically different dissemination networks,” as well as a “change of method”: “a union with the most combative levels of the peoples’ struggle.” It concludes: “It has been proven that an exhibition with these characteristics was excessively vulnerable because it had been conceived in quasi-legal terms that did not correspond to the political moment nor to the message that it hoped to disseminate.” On the other hand, this kind of quasi-legality (or quasi-clandestine state) is in fact the very same circulation method chosen by Sobre magazine.

Shortly after the Itinerario de 1968 [Timetable for 1968], that marked the accelerated process of political and artistic radicalization of the Rosario and Buenos Aires avant-gardes, had ended, some artists assess or take positions on the current status of the formulation of “a new aesthetic,” as it was known. The very people involved mark the limits of that year’s experiences; they propose new modalities of cultural action (that in some cases were carried out) and they take part in the dispute regarding the definition of Tucumán Arde’s meaning, divulging the materials that they had produced.  Some of those assessments, that can be linked to the group of Buenos Aires artists (principally Roberto Jacoby, Pablo Suárez, Margarita Paksa and León Ferrari), appeared in the (anti)magazine Sobre, an initiative driven by Jacoby along with Octavio Getino and Fernando Solanas (of the Cine Liberación Group), Beatriz Balbé (poet) and Antonio Caparrós (a member of the Psicólogos para la Liberación group). Sobre magazine was in actuality a brown paper envelope that contained a variety of different materials presented in heterogeneous formats. It also contained a list of its contents produced on a mimeograph machine. A brief manifesto invited readers to tear the magazine up and use it however would prove most useful. Two issues of this (anti)magazine were published between May and July of 1969.The multiple versions [of names] used by the artists who signed the Tucumán Arde documents should not lead to confusion. From 1966 the Rosario [artists] group had used the name Grupo de Arte de Vanguardia de Rosario. When the former joined with the Buenos Aires artists, who did not have a collective name, various names were used interchangably: Grupo de Artistas de Vanguardia, Grupo de Artistas Argentinos de Vanguardia,  Grupo de Plásticos Argentinos de Vanguardia, Comisión de Artistas de la CGT de los Argentinos or the Comisión de Acción Artística, as well as the Comité Coordinador para la Imaginación Revolucionaria. Some of the documents are signed using these names, others are not signed and others are signed with an extensive list of individual names.