In this essay, the Argentinean critic Héctor Agosti presented the conceptual origins of “artistic critique” from a Marxist ideological viewpoint. He reflects on the complexity of the artistic creativity, which responds, but not automatically, to the causes and the effects resulting from a Hegelian dialectic [in which the contradiction between a proposition (thesis) and its antithesis is resolved at a higher level of truth (synthesis)]. However, always present consciously or not, in the artist, in his opinion, are absolutes that are socioeconomically rooted. In effect, “artistic creativity” even with subjective motivations, can never circumvent the collective matrix of external factors. This essay is based on the grammatical coinage of the term “critique” stemming from Ancient Greece and its historical remnants, including stances on judgment, confrontation and struggle. Thereby a “critique” has always been by its very nature and by definition, contentious and impartial.” From his own ideological matrix, the author monitored artistically diverse and permanent relationships that were transmitted into social movements with the Hegelian dialectical “cause and effect” principle. However, Agosti, quoting Marx numerous times, perceived a stance where literary critique and visual artistic critique were not necessarily applicable to Marxist principles. As if it were a geometrical axiom, art or artistic production is created within seemingly inserted contradictory spaces unable to circumvent its social context. Admitting to these subjective remnants, Agosti secured powerful collective reasons that referred to rather unorthodox Marxist stances. In his opinion, a critic’s role did not encompass written descriptions like journalists, rather it was to provide knowledge that was permanent and based on concrete and historical circumstances obligated to evaluate the expressive means linked with the creation. This knowledge did not necessarily have to automatically correspond to the artist or to his time. Quoting Marx, the author considered that “creativity” did not occur with the provisional timeliness of other social manifestations analyzed by social scientism. Therefore, they were subject to being produced in partial stages and were very difficult to interpret. Based on these kind of concepts, Agosti, in the 1940s, wrote his summarized thesis on “critique” that was of importance to Uruguay on both sides of the Río de la Plata for its intellectual heritage in 1930 to 1950.