The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Jorge Romero Brest points out the characteristics of Informalist art and its several branches. According to him, Informalism is an artistic mode that breaks with modern art in its attempt to capture reality; this is why it is considered a realist art. Romero Brest sets up its links with conceptual terms such as appearance, experience, and utopia.
The publication del Arte presented a bickering with the cover headline “El informalismo en la balanza: escriben J. Romero Brest, Enrique Azcoaga, Rafael Squirru.” [Informalism Tipped in the Scales: texts by J. Romero Brest, Enrique Azcoaga, Rafael Squirru]. The spread of the Movimiento informalista had quite an impact on the artistic milieu in Argentina since the late 1950s with the work of Alberto Greco, Enrique Barilari, Kenneth Kemble, and Luis Alberto Wells, among others.Jorge Romero Brest, the director of the magazine Ver y estimar (1948–55), was appointed the administrator of the Museo Nacional de Bellas Artes in 1955. Romero Brest acted as the director of the same institution between 1956 and his resignation in 1963, when he assumed the directorship of the Centro de Artes Visuales del Instituto Di Tella [Center for the Visual Arts at Di Tella Institute], where he had previously served as an advisor. In the same year that he wrote this text, Romero Brest wrote a popular book of local importance titled ¿Qué es el cubismo? [What Does Cubism Mean?] in which he used such notions as “experience” and “reality,” very similar to those applied in this piece.