Hernández Rosselot writes about the perishable quality in art, emphasizing the deterioration of contemporary artworks. One of the goals of Rómulo Macció is that his works survive for future observers. The critic mentions the impact of technological advances in communications. In this stage, after having praised the pictorial quality, he states that Macció attempts to define new spaces and times based on formal resources. Hernández Rosselot notes the impact produced by the death of President John F. Kennedy, both regarding violence and the contradiction between violence and the artistic longing to survive.

Rómulo Macció (Buenos Aires, 1931) is part of the Otra Figuración [Another Figuration] group along with Luis Felipe Noé, Jorge de la Vega, and Ernesto Deira. In 1963, upon his return from Paris, with a scholarship from the Fondo Nacional de las Artes [National Fund for the Arts], Macció obtained the International Prize from the Instituto Torcuato Di Tella with a jury made up of Jorge Romero Brest, William Sandberg, and Jacques Lassaigne. The prize consisted of 3,000 dollars. His work was already known internationally due to his participation in the Paris, São Paulo, and Venice biennials. He also obtained the Guggenheim fellowship at that time. In 1963, in addition to the individual exhibition at Bonino, Macció exhibited with the Otra Figuración at the Museo Nacional de Bellas Artes in Buenos Aires. In the exhibition analyzed by Hernández Rosselot, the most notable is the series Vivir [To Live], which is made up of 13 paintings in which Macció explored different frame formats (round and octagonal). The painting Vivir: sin seguro de idem [To Live: Without Life Insurance] is notable in this series, as it references the murder of Kennedy. This is a newspaper clipping from Galería Bonino Archives, no page number.