Ricardo Carpani (1930–97), Juan Manuel Sánchez (b. 1930), and Mario Mollari (b. 1930) joined forces in 1957 to create art with a social conscience expressed through a revolutionary discourse that was influenced by the figurative monumentalism and public visibility of Mexican muralism. They were joined by Esperilio Bute (b. 1931), Pascual Di Bianco (1930–78), Julia Elena Diz (b. 1928), Carlos Sessano (b. 1935), and Raúl Lara Torres (b. 1940). In 1959 they formed the Movimiento Espartaco [Spartacus Movement]—whose name is more revealing of the group’s Trotskyite thinking than the images they borrowed from Mexican muralism—and moved in leftist circles in Argentina. Carpani, who distanced himself from the group two years after it was founded, was interested in developing a revolutionary way of approaching art (Arte y revolución en América Latina, [Art and Revolution in Latin America], Coyoacán, 1962) and was responsible for the murals and posters created for the Confederación General del Trabajo de los Argentinos [Argentine Workers Union]. The Grupo Espartaco disbanded in 1968. The Italian Franco Venturi, who joined the group in 1965, was arrested and “missing” in February 1976 by the Argentine military dictatorship.This document is important because it helps to explain why the group disbanded, and gives a deeper appreciation of the group’s objectives. It also provides insights into the political radicalization of Argentine art in 1968, as expressed in Experiencias ’68 [Practices ‘68] and Tucumán Arde [Tucumán Is Burning], among others.