The Grupo de Arte de Vanguardia de Rosario—created by a fusion of three workshops, with artists from different artistic organizations (alumni from Juan Grela, the Grupo Taller, and recent graduates of the Escuela de Bellas Artes de la Universidad)—initiates its public collective actions and position statements at the end of 1965. Two years later, the group acquires more cohesion and is acknowledged as one of the most dynamic experimental art groups in the country. The Ciclo de Arte Experimental [Experimental Practices of Art Series], planned for the early 1968, began in May inside a space that was given to the group by an advertising agency. A short time later, the Instituto Di Tella from Buenos Aires granted it a subsidy that allowed the group to rent a small glass space inside a commercial gallery. Every two weeks, until October 1968, the group would stage an exhibition proposed by one of its members.
The experience proposed by Lía Maisonnave, the second in the Series was presented in June of 1968. The room was completely empty, and the artist made no changes to anything except the floor, on which she drew a black-and-white grid (that looked like a chess board). Maisonnave gave each spectator a sheet of instructions. In this, as in other interventions in the Ciclo, the emphasis was on involving the public in the project, thus providing the viewer with the full-blast experience of being privileged part of the artistic action.