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 begins his text with theoretical definitions about art’s meaning, perceived as an entity that has its own being. In his opinion, the artist becomes a trigger for an expression that is always being, in addition to the experience generated by images—images that do not belong to the world's reality or that of the painter. Romero Brest defines the artists included herein as being part of a generation in-between since they do not constitute an aesthetically coherent group. Finally, he ponders the traits of their works in a philosophical framework.
Jorge Romero Brest (1904–1989) was the director of the Ver y estimar [To See and Ponder] journal (1948–55). He was appointed inspector of the Museo Nacional de Bellas Artes [National Museum of Fine Arts] in 1955, and served as its director from 1956 to 1963, the year he resigned to assume the direction of the Centro de Artes Visuales [Visual Arts Center] of the Instituto Di Tella, for which he was a consultant.This show, also known as the Grupo de los Cinco [The Group of Five] exhibition, implies one of the groupings of Informalist artists who also stressed the matter. In addition, its prologue is one of the most interesting written by Romero Brest during his tenure at the MNBA [National Museum of Fine Arts], since it involves the opening of this institution to more contemporary movements. Also, it is one of the aesthetically based critical attempts making comparisons from local art to international tendencies. This exhibition brings to light the continuous regroupings of artists, thus setting the bounds between Abstraction, Geometry, and Informalism. For example, four of the artists included —Sarah Grilo (1919–2007), Juan A. Fernández Muro (1920), Miguel Ocampo (1922) and Kasuya Sakai (1927–Texas, 2001)—had been part of the Grupo de Artistas Modernos [Modern Artists Group] in 1952, in overt opposition to the rationality of Concrete artists; the remaining artist, Clorindo Testa (1923), was included in the exhibition 7 pintores abstractos [Seven Abstract Painters] at the Galería Pizarro, in 1957 (as well as Sakai), in addition to being members of Grupo Boa [Boa Group], which was related to Surrealism.