Uruguayan and Argentinean artists participated in two exhibitions in 1910: the great Exposición del Centenario held in Buenos Aires (from September through November), and the IV Exposición del Círculo de Fomento de Bellas Artes in Montevideo (in January and February). The former, a monumental event, was organized as part of an international fair that showcased industry and other fields, which had a considerable impact at a socio-political level. The Uruguayan exhibition, on the other hand, was a more modest, provincial affair. It was presented at the Pabellón de Higiene del Parque Urbano, which a year later was repurposed as the Museo Nacional de Bellas Artes, a cultural space directed by the painter Domingo Laporte (1855–1928).
The event was attended by several well-known Argentinean artists, especially those who were members of the Nexus group, including the painters Pío Collivadino (1869–1945), Fernando Fader (1882–1935), Justo Máximo Lynch (1870–1953), Cesáreo Bernaldo de Quirós (1879–1968), Carlos Pablo Ripamonte (1874–1968), and Alberto María Rossi (1879–1965), and the sculptors Arturo Dresco (1875–1961) and Rogelio Yrurtia (1879–1950). In 1907 the Nexus group organized an exhibition of Argentinean painting at a gallery on Florida Street in Buenos Aires, thus contributing to the momentum that other organizations, such as the Sociedad Estímulo de Bellas Artes, had been providing to support group art shows since 1901.
Several members of the Nexus group participated in the IV Exposición del Círculo de Bellas Artes in Montevideo, including Collivadino, Lynch, Rossi, Ripamonte, and de Quirós. The Uruguayan contingent included a number of younger artists, such as Carmelo de Arzadun (1888–1968), Domingo Bazzurro (1886–1962), Carlos Alberto Castellanos (1881–1945), Andrés Etchebarne Bidart (1889–1931), and Guillermo Rodríguez (1889–1959), all of whom were prolific painters, especially during the 1930s and 1940s. There were also some “older” artists, such as Emilio Beretta (1875–1935), who founded the Sociedad Amigos del Arte in 1930 and had organized tertulias [art gatherings] since the very early days of the twentieth century; Pedro Blanes Viale (1878–1926), who had a prestigious career as an artist and a teacher at the Escuela Industrial; and Carlos María Herrera (1875–1914), co-founder and director of the Escuela del Círculo de Bellas Artes de Montevideo. The list of sculptors included two young men who went on to achieve great fame after 1920: Bernabé Michelena (1888–1963) and José Luis Zorrilla de San Martín (1891–1975).