This document is important for understanding the regrouping of artists towards the middle of the 1950s. In spite of lacking a presentation text in its catalog, this show is made up by artists who not much later grouped themselves in diverse trends, thus establishing it as the point of reference of the decade's modernization in the visual arts. See, for example, the seven specific cases. Osvaldo Borda (Lomas de Zamora, Bs. As., 1929) and Victor Chab (Buenos Aires, 1930) were part of the Surrealist movement, led by the poet Julio Llinás (Buenos Aires, 1929), editor of the journal Boa also in 1957, a publication linked to the movement Phases. Martha Peluffo (1931–79) (who later was married to Llinás), and Clorindo Testa (Naples, Italy, 1923) indicate the point of connection between the surrealist tradition and the Informalist movement in those years. Kasuya Sakai (1927–Texas, 2001) had been part of the Grupo de Artistas Modernos [Modern Artists Group] in 1952—which was opposed to the rationality of Concrete Art—and also conveyed its Informalist way by means of an Eastern-prone mark. Josefina Miguens (Buenos Aires, 1932)—who later became Josefina Robirosa—straddled the bounds between abstraction and figuration, a tendency that was then close to Jorge de la Vega (Buenos Aires, 1930–71), with whom she had jointly exhibited in 1956. Romulo Macció (Buenos Aires, 1931) was beginning at that time his formal path to the new figuration.
