In 1958, Industrias Kaiser Argentina (IKA), headquartered in the province of Córdoba, launches an art dissemination project when it organizes the I Salón IKA [1st IKA Salon]. While IKA limits this first salon to artists from Córdoba, the four subsequent events would extend invitations to several regions other than the capital. In 1961, when it decides to broaden the plan to the national level, IKA organizes a biennial painting competition that includes international participation. Indeed, these Bienales Americanas de Arte [Latin American Art Biennials] (BAAs) would serve as a promotional medium for IKA. At the same time, they would showcase the company’s Pan-Americanist policies, which were supported and promoted by the OAS (Organization of American States). The article selected conveys the growing importance of the competition as it approaches the third biennial event. Written a few days before the opening of the III BAA in October 1966, it describes the expectations stirred up by the participation of around 70 visual artists, with approximately 275 works in all. Added to this was the deployment organized by Christian Sörenson, BAA Director and IKA’s Public Relations Manager, to equip the new facilities in the Facultad de Ciencias Exactas at the Ciudad Universitaria in Córdoba. One difference from prior biennials was the composition of the jury. In the past, the juries had one member who was internationally renowned: the representative of the OAS Visual Arts Department, José Gómez Sicre, plus one member from each participating country. This time, the jury was made up of five members: Alfred H. Barr Jr., Director of Collections at New York’s Museum of Modern Art, presiding over the jury; Sam Hunter, Director of New York’s Jewish Museum; Arnold Bode, President of the Documenta Kassel of Germany; Carlos Raúl Villanueva, a Venezuelan architect; and Aldo Pellegrini, Argentine poet, essayist and critic.