Hugo Parpagnoli, art critic, was the director of the Museo de Arte Moderno at the time this work was presented, when the spreading of pop art in Buenos Aires is viewed as an aesthetic of the great metropolis during the middle of the 1960s. Luis Fernando Benedit (1937) and Vicente Lucas Marotta (1929–1994)—later linked to the concept art called Grupo de los Trece [Group of the Thirteen], sponsored by the Centro de Arte y Comunicación (CAyC) [Art and Comunications Center]—presented a 600 square feet setting titled Barbazul [Bluebeard]. The spectators would walk through it following a script, enhanced by music composed by Miguel Angel Rondano, then a scholarship student at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) The Latin American Center for Advanced Studies in Music at Instituto Torcuato Di Tella.The characters of Charles Perrault’s traditional short story were made in galvanized tin and scrap iron (Benedit) and in cement, with a structure of unfolded iron and metal (Marotta), and lacquered and enameled in bright colors afterward. This environment/setting relates to others from the same period, such as La menesunda [The Hodgepodge] (1965, Marta Minujin and Rubén Santantonín), Importación-exportación [Import-Export] (1968, Marta Minujín), and Terranautas [Terranauts] (Lea Lublin, 1969).
Both Benedit and Marotta share a strong irony and humor in their works during that decade. Marotta preserving it throughout the 1970s; Benedit, on the contrary, upon returning from his scholarship studies in Rome (1968), began what would define his later career: the experimentation with “hábitat artificial” [artificial habitat]. Marotta, distancing himself from the CAyC by the middle of the 1970s, worked on parodical sculptures until he abandoned his artistic practice because of strong bouts of depression. Finally, the artist was enrolled at a hospice in 1986.