Pedro Figari (1868–1938), a Uruguayan painter that stood out also as attorney-at-law and intellectual. In 1921, he established himself in Buenos Aires, socially connecting with important figures in the cultural milieu. He published a variety of articles in several journals that were representative of the Buenos Aires vanguard, such as Martín Fierro, Proa [Prow] and Valoraciones [Assessments] (La Plata), as well as in newspapers, such as La Prensa [The Press] and La Nación [The Nation]. In his texts, as well as in his lectures given at the Asociación Amigos del Arte [Friends of the Arts Association], he was committed to develop a way to look at Latin America’s kernel, to have a grasp of the reality, the urgent needs of its countries, and both his interest in the pre-Columbian world and his own research on educational programs; these aspects were not overlooked by the groups that represented the 1920s avant-garde. On the contrary, even if their modernizing project involved an attentive look in the direction of Europe—toward French culture above all—it also had an ongoing strife with their own historic-cultural reality. In this regard, the relevance of Figari’s thinking to the young “vanguardists” of that time should be understood. Proa was one of the journals linked to the aesthetic and literary renewal. Its first period, linked to the Argentinean Ultraism, begins on August 1922 and ends in July 1923. During this phase, only three issues were published. Its second period, characterized by bringing together a modernizing project, is initiated in August 1924, then it published fifteen issues until 1926. Its four editors were Jorge Luis Borges, Brandán Caraffa, Ricardo Güiraldes, and Pablo Rojas-Paz. This article is relevant to the extent that it serves as testimony of Figari’s concern for the educational system in Latin America in tandem with the development of its countries.