Martín Fierro (1924–27) played a major role in the great proliferation of avant-garde journals published in Argentina, more specifically in the 1920s Buenos Aires. Evar Méndez led it, though throughout 1925, Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch also took part in its administration. Among the participants were key Argentinian writers such as Girondo, Ricardo Molinari, Leopoldo Marechal and Jorge Luis Borges, among others; as well as the artists Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro ceased publication when, preceding the presidential candidacy of Hipólito Yrigoyen, the core group was divided between those who supported the magazine assuming a political stance and those who 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 Avant-garde in Argentina. Xul Solar (Oscar Alejandro Agustín Schulz Solari, 1887–1963), distinguished Argentinean artist, tied to the 1920s aesthetic renovation, invented an artificial language he called neocriollo [neo-Creole] that he had conceived by the end of the first decade of the century. It stemmed from a fusion of Spanish and Portuguese and is a key factor in Xul Solar’s avant-garde project; which, to his understanding, is the language that will be spoken by the “New Race,” by the “New Man” who shall emerge from Latin America. Leopoldo Marechal (1900–70), important Argentinean writer, author of Días como flechas [Days Like Arrows] (1926), was part of the avant-garde group revolving around the Martín Fierro publication who had a distinguishing career in the decades that followed. One of his most important books was Adán Buenosayres (1948), in which several characters refer directly to artists connected to the 1920s Buenos Aires vanguard art milieu; for example, astrologer Schultze represents the esoteric figure of Xul Solar himself.