Nicolás Rubió (1928) is an artist that came to relevance as promoter of the idea to summon up artists of different aesthetics. His purpose was to criticize the “-isms” of that period (Concretism, Kineticism, Informalism, Neo-Figuration) as well as the art critics that defended a creative individuality. In an art scene dominated in Argentina by groups of artists, in this 1964 exhibition are ironically recovered those who had not adhered to any group. The call was then noteworthy; although a look at the checklist forewarns that some of the artists had already integrated into groups the previous decade. With humor, a list of phrases was included in order to complement the article of every group: “The… ” and so forth.
This document allows for an understanding of the individual crisis undergone by some artists facing the 1960s changes in artistic language, as well as in the process of internationalization of the arts carried out in Buenos Aires at that time. The catalogue was illustrated with xylographies of Jose Rueda (1926).
The artists who participated were: Roberto Aizenberg (1928–96), Pompeyo Audivert (1900–77), Líbero Badii (1916–2001), Américo A. Balan (1915–86), Julio Barragán (1928), Luis Barragán (1914), Esther Barugel, Juan Carlos Benítez (1931), Aída Carballo (1916–85), Pedro de Simone (1922), Juan Eichler (1923), Angel Fadul (1924–85), Mario Grande, Juan Grela (1914–92), Alejandro Lanoel (1915), Laxeiro (1908–96), Horacio March (1899–1978), Horacio Blas Mazza (1933–2003), José Manuel Moraña (1917), Juan Otero (1920–73), Pastorello L. (Dignora Pastorello de Larco), Orlando Pierri (1913–91), Leopoldo Presas (1915), Nicolás Rubió, José Rueda, Raúl Russo (1912–84), Peter Sussmann (1927), Carlos Torrallardona (1913–86), Leonor Vassena (1924–64), Josefina Zamudio, and Vera Zilzer.
