After the Tucumán Arde interruption caused by the show’s closure in Buenos Aires, the difficulties that the Rosario and Buenos Aires avant-garde groups had in remaining cohesive and committed to their quest for a “new aesthetic,” generalizing as such, their abandonment of art, became evident. In the case of the Rosario artists, the group’s dissolution was hastened on once the work was completed. The principal artists who realized the work met between December and the summer of 1968 to assess their status. After a painful and exhaustive process wherein repeated attempts were made to avoid dissolution, the decision was made to disband the group. Those present promised never to participate in any galleries, museums, competitions, awards, or any other institution belonging to bourgeois art. All were strictly true to their word as none of them returned to that visual arts sphere in the years that followed. In 1973, Graciela Carnevale, Juan Pablo Renzi, Araldo Acosta and José Lavarello, all former members of the Grupo de Arte de Vanguardia de Rosario, join what they call “Grupo de Contrainformación.” The group created an audiovisual presentation on the Ezeiza massacre for which they photographed and interviewed various people at the same place where the events occurred. It concerned the violent incidents that took place on June 20 of that year in the areas surrounding the Buenos Aires airport in Ezeiza when the exiled political leader Juan Domingo Perón returned to Argentina after an exile of 17 years. At the presentation, the group issued an extensive declaration that accompanied the script for the piece regarding that tragic event.