In June 1968, shortly after the French [student strikes in] May, the appearance of a censorship clause in the invitation to participate in the Braque Prize, sponsored by the French Embassy, unleashed a joint reaction from the Rosario and Buenos Aires cultural vanguard groups. The ruling instructed the invited artists to “point out the possible existence of photos, phrases, or writings that are part of the work.” Furthermore, the organizers reserved the right to “make any changes they might judge necessary.” If the purpose of this clause was to avoid the prize being awarded to works expressing the anti-institutional stand of the emerging vanguard groups of Argentina, the censorship had a boomerang effect.
The open censorship included in the invitation to the artists to participate in the 1968 Braque Prize was unacceptable to a significant number of the invited artists, whose reaction came quickly. The first to condemn it was Margarita Paksa, who sent the abovementioned letter to the organizers. Roberto Plate followed her, with a similar declaration, and the members of the Grupo de Arte de Vanguardia de Rosario published a new manifesto titled “Siempre es tiempo de no ser cómplices” [There Is Always Time to Not Become Accomplices].
The resigning artists decided to intervene in the awards ceremony on July 16 at the Museo Nacional de Bellas Artes. During twenty very agitated minutes, they threw around FATRAC (Frente Antiimperialista de Trabajadores de la Cultura) flyers, rotten eggs, and stink bombs at the officials and especially at the prizewinning work, which its creator, Rogelio Polesello, had created based on the colors of the French flag. There were physical struggles, thrown punches, and lots of running around inside the museum. Everything came to an end with a strong reaction by the security forces: the police intervened rapidly, closing the entrance doors and arresting nine people, who were sentenced to thirty days in jail.