In 1970, Roberto Pignataro unveiled a breakthrough series at Galería Lirolay in Buenos Aires, establishing a new visual language in abstract art. This article explores the evolution of his technique and the moment art critic César Magrini encountered the work—leaving him stunned and struggling for words.
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This article revisits a violent episode in Argentine history—the 1955 bombing of Plaza de Mayo—and explores whether echoes of that trauma, however obliquely, might be reflected in a series of abstract works Roberto Pignataro exhibited eight years later.
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