The Taller de Artistas Gráficos Asociados (TAGA) represented a continuation of the Taller de Luisa Zuloaga de Palacios (la Nena), a watershed in the history of Venezuelan graphic art and a gathering point for artists during the sixties. TAGA also drew sustenance from the rich experience at the Centro de Enseñanza Gráfica (CEGRA). Indeed, the printing project, as the critic Bélgica Rodriguez remarks, was only possible if a graduate of CEGRA could be hired to operate it (see “El CEGRA 5 (cinco) años después” by critic Roberto Guevara (1933–1998), ICAA digital archive 1153429). TAGA, like the Taller de Palacios before it, was informal in terms of rules, aims, and objectives. The organization represented a mature stage in the history of graphic art in Venezuela.
Because this article by Venezuelan critic Bélgica Rodríguez (b. 1941) was published soon after TAGA was launched, it does not list all the people involved in the project; however, it does mention Luisa Palacios. Unlike other articles from the time, this one does not distinguish between founding and non-founding members.
For another critical essay on TAGA, see “La gráfica venezolana y el TAGA” by Roberto Montero Castro (1081178).