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The manifesto proposes a reform program for visual-arts education by following the plank of David Alfaro Siqueiros. It also suggests the merger of the schools, so that they might be incorporated into the university system, as well as the end of non-coed education.
Having been expelled from the United States, David Alfaro Siqueiros (1896–1974) traveled to Montevideo in February of 1933, and by the end of May in that same year, he had established himself in Buenos Aires. In the River Plate, Siqueiros experimented with technique and presented arguments based on the contents of his lecture Los vehículos de la pintura dialéctico-subversiva [The Vehicles of Dialectical-Subversive Painting], which he had developed while in the United States. In June he exhibited at Amigos del Arte [Friends of Art], a liberal and modernizing arts institution. Siqueiros gave controversial lectures that polarized the arts field into the defenders of “arte puro” [“pure art”] and “arte político” [“political art”]. He collaborated on the newspaper Crítica [Critique], edited by Natalio Botana. Botana commissioned Siqueiros to paint Ejercicio Plástico [Visual Exercise], created by the Equipo Poligráfico Ejecutor [Lead Polygraphic Team] (Siqueiros,Antonio Berni (1905–1981), Lino Enea Spilimbergo (1896–1964), Juan Carlos Castagnino (1908–1972) and the Uruguayan set-designer Enrique Lázaro) in his property at Don Torcuato, Province of Buenos Aires. This document is part of a group of articles published in Contra. La revista de los francotiradores [Against: The Snipers’ Magazine]; the publication was run in accordance with the cultural directives of the Communist Party by poet Raúl González Tuñón, who was not officially affiliated with the party. As such, Contra functioned as a leftist publication that stimulated the militant debate in both the literary and political avant-gardes. The magazine was published between April and September of 1933, approximately the months that Siqueiros spent in Buenos Aires, whose presence was central to the publication. The majority of its collaborators had worked on Crítica. This manifesto shows the repercussions of Siqueiros’s visit with regard to the unionization and political organization of the Argentinean students and visual artists. [See the Mario A. Canale’s critique in Momento Plástico.]