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This text provides an account of the lecture that Tomás Maldonado gave at the Galería Krayd in Buenos Aires on October 27, 1953. A Concrete artist, Maldonado spoke of the passage from “precise” to “imprecise forms” on the basis of a comparison of the geometrical houses of San Antonio Abad painted by the fifteenth-century Siennese painter, Stefano di Giovanni di Consolo, known as Il Sassetta, and the contemporary work of Piet Mondrian and Georges Vantongerloo. The journalist maintains that transformations in art should be read in terms of “invariables” rather than novelty. The validity and importance of Concrete Art, for instance, lies in its relationship with art of the past.


Tomás Maldonado (b. 1922) is an Argentine painter, designer, and theorist who contributed to the journal, Arturo (1944). He was a member of the Asociación Arte Concreto Invención [Concrete Art and Invention Association] and director of the magazine, nueva visión. In 1954, he moved to Germany, where he became a professor at the newly created Hochschule für Gestaltung [The Ulm School of Design], founded by Max Bill (1908–94). He currently lives and works in Italy.

Directed by Atilio Dell’Oro Maini, Criterio was a Catholic literary journal that began to circulate in Buenos Aires in March 1928. Early contributors included Emilio Pettoruti, Enrique Amorim, Ulyses Petit de Murat, and many others. Later, however, many left the publication as it began closing ranks and drawing inspiration from the “Catholic Action” proposed by Pope Pius XI.

The Galería Krayd, which was founded by Francisco Kröpfl and Zoltan Daniel, was active in Buenos Aires from November 1952 to December 1955. It was geared toward various strains of abstraction.

This text has been selected because it documents the lecture that Maldonado gave at the Galería Krayd.

Cristina Rossi
Fundación Espigas, Buenos Aires, Argentina
Courtesy of Tomás Maldonado, Milano, Italia
Fundación Espigas.