The Premio Instituto Torcuato Di Tella [The Torcuato Di Tella Institute Prize] was established in 1960, a few months after the creation of the Centro de Arte del Instituto Torcuato Di Tella [Center for Art of the Torcuato Di Tella Institute] (ITDT). The latter organization was run by a board composed of Lionello Venturi, Ricardo Camino, Guido Di Tella and Jorge Romero Brest. The Centro was dedicated to the dissemination and promotion of the visual arts as well as to maintaining contact with other centers linked to national and foreign production. The Premio ITDT was created within to award opportunities to young Argentinean artists to enrich their experiences abroad. The Premio ITDT not only awarded prizes/scholarships, but also favored the dissemination of international art within the local scene. This made it an important institution for the renaissance of the visual arts at the time. The prize was awarded to both national and international artists until 1967, with a few variations according to the given year. In 1967 it became known as the Experiencias Visuales [Visual Practices]. Later, in 1968 and 1969 it became known solely as Experiencias [Practices]. In 1963 Romero Brest resigned as director of the Museo National de Bellas Artes [National Museum of Fine Arts] and accepted the position of director of the Centro de Artes Visuales of the ITDT. In 1966 the Premio ITDT was solely national in scope.La Menesunda [Hodgepodge] was an exhibition based on a project by Marta Minujin and Rubén Santantonín, with the collaboration of Pablo Suárez, David Lamelas, Rodolfo Prayón, Floreal Amor and Leopoldo Maler. It took place from May 18 to June 6, 1965. It was composed of various environments that produced different situations: a half-lit room, a dark chamber, a glass capsule with rain made of torn paper, a cold vault, etc. It was conceived within the spirit of ¡Revuélquese y viva! [Roll Around and Live!], a work acquired by the ITDT from Minujín in 1964. La Menesunda attracted attention; it also allowed for a consideration of the controversies stirred up by Pop Art in Argentina.Cayetano Córdova Iturburu was a critic linked to leftist circles. He had enjoyed prominence since the 1920s, although he later separated from the militancy of Communism after he questioned the canon of Soviet realism.This document reveals the foundations of the local criticism of the Premio Torcuato Di Tella; especially in relation to its national and international reputation.