After attending the Primer Encuentro de Plástica Latinoamericana [First Latin American Visual Arts Encounter], which took place at the Casa de las Américas in Havana, Cuba, Julio Le Parc and Brazilian artist Sérvulo Esmeraldo undertook the task of promoting and seeking support to organize the Segundo Encuentro de Plástica Latinoamericana [Second Latin American Visual Arts Encounter]. The text of this "Informe del grupo de artistas latinoamericanos firmantes del Llamamiento residentes en París" [Report from the Latin American Artists Signatories Group of the Convocation for those Residing in Paris] points out that, with the help of Venezuelan art critic Aquiles Ortiz—who resided in Barcelona at that time—about thirty signatories were obtained in support and some visual artworks were presented at the Salon de la Jeune Peinture du Musée d’Art Moderne in Paris. Among these, the work called La tortura [The Torture], produced by Grupo Denuncia— made up of Argentineans Le Parc and Alejandro Marcos and Brazilians Gontran Guanaes-Netto and Uruguayan José Gamarra—was included. They also produced an exhibition at the Cité Universitaire de Paris [University Boarding Complex of Paris] about the oppression, repression, and struggles in Latin America, in which each exhibition space was used to denounce the political prisoners situation in both Brazil and Argentina. They also maintained the flow of contact with the Cultural Service of the Cuban Embassy as well as the Chilean solidarity movement. Also, these two artists produced a bulletin to divulge information about their activities and set their sights on a future Encounter, among many other tasks.

Julio Le Parc (1928) was born in the Province of Mendoza, in Argentina, and graduated in Buenos Aires. In 1955, he participated in the student movement that took over the country’s fine arts schools, and in 1958, Le Parc traveled to Paris on a scholarship. While there, between 1960 and 1968, he became part of the Groupe de Recherche d’Art Visuel (GRAV) [Visual Arts Research Group], which, in turn, participated in the Nouvelle Tendence [New Tendency] international movement. He later continued his visual research and production within the kinetic art movement. On many occasions, his positions on various issues from the point of view of a Latin American artist were accounted for. Sérvulo Esmeraldo (1929) is a Brazilian sculptor, engraver, and draftsman. Between 1951 and 1980, he settld in Paris, where he became interested in the viewer’s participation and kinetic art. Currently, he lives and works in Fortaleza, his hometown.  The Primer Encuentro de Plástica Latinoamericana took place in May 1972, at the Casa de las Américas in Havana, Cuba, with the participation of representatives from ten countries: Cuba, Chile, Argentina, Brazil, Colombia, México, Panamá, Peru, Uruguay, and Venezuela. A text titled "Algunas reflexiones" [Some Pondering] was added to this report. It is a bulleted list of propositions that came up during the meetings and a series of suggestions for the Boletín del Encuentro [Encounter’s Bulletin]. Those signatories who expressed their support included Álvarez-Ríos, Antonio Seguí, Virgilio Villalba, Leopoldo Novoa, Rubén Márquez, Alejandro Marcos, Gontran-Netto, Luis Piza, Julio Le Parc, Carlos Querra, Lorenzo Pérez, Sérvulo Esmeraldo, María Amaral, Reynaldo, Carmelo Carrá, Luis Ludert, Luis Arnal, Antonio Berni, Rodolfo Krasno, Lea Lublin, Laos Braché, Cheng, Augusto Ortiz-de Zeballo, Nicolás Uriburu, Vladimir Rojas, José Gamarra, Edison Parra, and Juan Carlos Aznar. Among the close friends who collaborated (but did not sign) were Jack Vanasky, Juvenal Ravelo, Sérgio Camargo, Bolívar, Alicia Penalba, Cristina Martínez, Carlos Cruz-Diez, and Héctor Vilches. This document has been selected because it attests to the strategies that were being articulated by the artists that were living abroad to counteract the regime of censorship, repression, and torture that dictatorial politics imposed on Latin America.