Hugo Acevedo writes about the artists brought together by the events of daily life, who, in his experience, are moving on to action. He demonstrates that there is no intention of delving deeply into artistic matters, rather the goal is to pay tribute to the man who symbolically represents life in America, referring to Ernesto “Che” Guevara.

In the context of the growing politicization of the visual arts, due to the clear situation of General Juan Carlos Onganía’s military dictatorship (1966-70), a group of artists—having in common the previous experience of the collective show Homenaje al Viet-nam [Tribute to Vietnam], (1966) at the Galería Van Riel [Van Riel Gallery] in which 200 artists participated—announces, in the visual artist union office this tribute to “Che” Guevara, assassinated in Bolivia. The artworks were done on a silhouette of the face of the guerrilla. The police forbid the exhibition on November 29, 1967. Among others, artists of diverse aesthetic tendencies participated including León Ferrari (1920), Carlos Gorriarena (1925–2007), Juan Carlos Castagnino (1908–72), Carlos Alonso (1929), Jorge de la Vega (1930–71), Ernesto Deira (1928-86), Rómulo Macció (1931), Luis Seoane (1910–79), Pablo Suárez (1937–2006), Franco Venturi (1937–76), and Martha Peluffo (1931–79). A poem is included in the catalogue—“Todos los hombres son mortales, Guevara es hombre; Guevara es mortal” [All men are mortal, Guevara is a man; thus Guevara is mortal], by Fernando Alonso—in which the tribute is made explicit since the text by Hugo Acevedo (1925) doesn’t mention Che’s name, simply addressing his nature of man-symbol. 

Acevedo has written some essays on the artist Carlos Alonso, besides being a contributor to La Rosa Blindada [The Armored Rose] (1964–66), a leftist cultural magazine run by José Luis Mangieri and Carlos Alberto Brocato; Raúl González Tuñón, Juan Gelman, and Andrés Rivera stand out as contributors to the magazine.