The Premio Instituto Torcuato Di Tella was established in 1960, a few months after the creation of the Centro de Arte del Instituto Torcuato Di Tella (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 this framework with the intention of awarding opportunities to young Argentinean artists to enrich their experiences abroad; nevertheless, the Premio ITDT not only awarded prizes and scholarships, but also favored the dissemination of international art within the local milieu. This made it an important institution for the renewal of the visual arts at the time. The prize was awarded to both national and international artists until 1967, with a few exceptions 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 and accepted the position of director of the Centro de Artes Visuales of the ITDT. In 1964 the Premio ITDT was both national and international in scope; the judges were Clement Greenberg, Pierre Restany, and Jorge Romero Brest.In 1963 the Premio ITDT was both national and International in scope, and the following foreigners were participants: Pierre Alechinsky, Janez Bernik, R.B. Kitaj, Maryan, Hans Platschek, Achille Perilli, Paul Rebeyrolle, Larry Rivers, and Antonio Saura. The Argentine artists were: Mario Pucciarelli, Clorindo Testa y Rómulo Macció (previous winners), and Roberto Aizenberg, Osvaldo Borda, Aníbal Carreño, Ernesto Deira, Luis Felipe Noé (b. 1933), Rogelio Polesello, Rubén Santantonín (1920–1969), Antonio Seguí, Silvia Torras, and Jorge de la Vega, were selected for the occasion. The jury members were: Romero Brest, Jacques Lassaigne, and William Sandberg.The critiques of Hugo Parpagnolia, who worked for La Prensa [The Press] newspaper and Sur [South] magazine, document the reactions to the renewal of the visual arts unleashed by the Premio Torcuato Di Tella. It is interesting to note that in April 1963, Parpagnolia began serving as director of the Museo de Arte Moderno, Buenos Aires.
