Within the context of a journey through exhibitions open in Argentina at the time, Lorenzo Varela points out the singularity of an exhibition in which both the human figure and reality as a motive prevail, in overt opposition to the Informal art invasion. Varela attributes this “fad” to laziness and fear; a laziness that consists of constructing a series of works made out of bags and rusted cans. On the other hand, in his view, there is a fear disguised as violence.

In 1960 and a few months after having created the Centro de Arte del Instituto Torcuato Di Tella (ITDT) [Art Center of the Torcuato Di Tella Institute]—directed by a Council made up of Lionello Venturi, Ricardo Camino, Guido Di Tella and Jorge Romero Brest— the ITDT Prize was made possible. The purpose of this center was to cooperate in the diffusion and promotion of the visual arts and to keep in contact with other centers connected with production at both a national and an international level. Within this context, the Premio ITDT [ITDT Prize] was created to provide an opportunity for young Argentinean artists to enrich their experience abroad; nevertheless, its creation did not just allow for the awarding of the grant-prize, but it also spurred the circulation of international art in the local arena, becoming an important reference point for the visual arts renaissance of the time. This prize was awarded to national or international artists, with some variation depending on the year in question, until 1967. Beginning that year, it changed its name and became Experiencias Visuales [Visual Practices], and then just Experiencias [Practices] in 1968 and 1969.

In 1963 Romero Brest resigned from the directorate of the Museo Nacional de Bellas Artes [National Museum of Fine Arts] and accepted a position as director of the ITDT Visual Arts Center. That year, the ITDT Prize was both national and international. The foreign artists included were as follows: Pierre Alechinsky, Janez Bernik, R. B. Kijat, Maryan, Hans Platschek, Achille Perilli, Paul Rebeyrolle, Larry Rivers, Antonio Saura. In turn, the Argentinean artists selected were: Roberto Aizenberg, Osvaldo Borda, Aníbal Carreño, Ernesto Deira, Luis Felipe Noé, Rogelio Polesello, Rubén Santantonín, Antonio Seguí, Silvia Torras, and Jorge de la Vega, in addition to Mario Pucciarelli, Clorindo Testa, and Rómulo Macció, who had previously received prizes. The Jurors were: Jorge Romero Brest, Jacques Lassaigne, and William Sandberg. 

Lorenzo Varela was a Spanish poet who was linked to the left. He went into exile in Argentina in the early-1940s and was active in the press. At the beginning of the 1960s, he wrote for the newspapers Clarín [The Bugle], El Mundo [The World], and La Nación [The Nation]. 

This document illustrates the impact occurred due to the renewal of artistic language, particularly with regards to the emphasis on Non-Figuration and the Informalism supported by the Torcuato Di Tella Prize.