León Ferrari (1920–2013), the Buenos Aires artist who was also the son of artist and architect Augusto Cesare Ferrari, had a late beginning on his career in the arts. This allowed him to serve as a link between the generation of artists belonging to the end of the 1950s and the young avant-garde artists of the 1960s. His first works were ceramic sculpture; later he would experiment with wire sculpture, visual scribbles, and collage. His work is political, and strongly denounced military dictatorships, American imperialism, and the ideology of the Catholic Church. It is also influenced by formalism, conceptual drawing, and the surrealist tradition. His object/sculpture, Civilización Occidental y Cristiana [Western Christian Civilization] (1965), was censured during its presentation at the Centro de Artes Visuales at the Instituto Torcuato Di Tella. Ferrari participated in the happenings of political conceptualism during the 1960s (in particular, the happening, Tucumán Arde, 1968). He was affected by the repression of the Argentine military dictatorship and was exiled to Brazil, where he experimented with formalism and with the reproducibility of artwork, exploring the conceptual relationship between sculpture and music. In 1984 he began to exhibit again in Buenos Aires, where he ultimately settled.This essay, written by León Ferrari, was later included in the exhibition, Leon Ferrari: Prismas e retângulos [León Ferrari: Prisms and Rectangles] (Rio de Janeiro: Museu de Arte Moderna, October 1982).