Martín Fierro (1924-27) holds a distinguished place among the huge proliferation of Vanguard publications that appeared in Argentina, and more specifically in Buenos Aires, during the 1920s. Martín Fierro was directed first and foremost Evar Méndez; although, in 1925 it was collaboratively led by Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch, in addition to Méndez. Contributors to Martín Fierro included great Argentine writers like Girondo, Ricardo Molinari, Leopoldo Marechal, and Jorge Luis Borges, among others; as well as contributions from the artists Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro halted publication when, preceding the presidential candidacy of Hipólito Yrigoyen, the core group was divided between those that supported the magazine assuming a political stance and those that did not—this internal bickering continued until the publication’s end. It is important to recognize that Martín Fierro was seen in its time as a key fixture of the vanguard in Argentina. Alberto Horacio Prebisch (1899-1970), the architect, completed his education in France, and, upon his return to Argentina, in 1924, he popularized the principles of modern architecture, and, particularly, those of Le Corbusier. In the realm of fine arts, it was the aesthetic of the “return to order” that he advocated as a critic in the pages of Martín Fierro. Pablo Curattela Manes (1891-1962), a well-recognized Argentinean artist in the twenties, was understood by Alberto Prebisch as one of the key figures in the contemporary revision of the art of sculpture.