Martha Boto (1925-2004) was born in Buenos Aires, Argentina. Painter and sculptor, focused its work on research on optical variations of light, color and movement. She was a member of the New Art Association created in 1955 by the poet Aldo Pellegrini and the artist Carmelo Arden Quin. In 1956 she joined the group Artistas No Figurativos Argentinos. In 1959 she settled in Paris where she made contact with the Op-art and Kinetic Art Movement. Her kinetic and optical works were focused on the juxtaposition of static or moving reliefs, experimenting with chance, play and movement. In 1960 she participated in the first Biennial of Paris. In 1969 she made her first individual exhibition at the Galerie Denise René. Her works participated in exhibitions at the National Museum of Art Reina Sofia in Madrid in 2007, at the Museum of Fine Arts, Houston in 2009 and at the National Museum of Fine Arts in Buenos Aires in 2012, among many others.

Her work is included in public and private collections including the Centre Georges Pompidou, National Fund for Contemporary Art and the Musée d’Art Moderne de la Ville de Paris, France; the Museum of Latin American Art of Buenos Aires (MALBA), the Torcuato Di Tella Foundation and the Na- tional Museum of Fine Arts in Buenos Aires, Argentina; Museum of Modern Art, Rio de Janeiro, Brazil; Peggy Guggenheim Collection in Venice, Italy; the Museum of Art in Tel Aviv, Israel; the Museum of Fine Arts, Houston ( MFAH ), Texas, USA ; among many others.

Gregorio Vardánega (1923-2007) was born in Passagno, Treviso, Italy. He moved to Buenos Aires in 1926. In 1939 he began his artistic training at the National Academy of Fine Arts, graduating in 1946 as a drawing teacher. He joined the Concrete Art-Invention Association, participating in several of his exhibitions. He was a founding member of the New Art Association and the Argentine Non-Figurative Artists Group (ANFA). In 1957 he integrated the submission presented at the IV International Biennial of Sao Paulo and, the following year, participated in the International Exhibition in Brussels, where he obtained a Gold Medal. In 1959 he decided to settle in Paris, a city in which he exhibited his works regularly in well-known Institutions, such as: Salon de France-Amérique, Paris, France (1959); Galerie Denise René, Paris, France (1961, 1963 1966); Galerie Creuze (1962); Musée d’Art Moderne, Paris, France (1962, 1967); Musée d’Art Moderne de la Ville in Paris, France (1964); Di Tella Institute, Buenos Aires, Argentina (1966); Grand Palais, Paris, France (1978-1982); Rachel Adler Gallery, New York, USA (1990); Museum of Modern Art, New York, USA (1993) and The Americas Society, New York, USA (2001), among others.

His work is included in public collections such as the Center Georges Pompidou, the National Fund for Contemporary Art and the National Museum of Modern Art in Paris, France; the Museum of Latin American Art of Buenos Aires (MALBA), the Torcuato Di Tella Foundation and the National Museum of Fine Arts of Buenos Aires, Argentina; Museum of Modern Art of Rio de Janeiro, Brazil; the Tel Aviv Museum of Art, Israel; the Museum of Fine Arts of Houston (MFAH) and the Museum of Geometric Art and MADI, Dallas, Texas; The Cisneros Fontanals Foundation (CIFO), Miami, USA; the Recklinghausen Museum, Recklinghausen, Germany, among many others.

Kenneth Kemble (Buenos Aires 1923 – 1998) studied painting during 1950 with his first teacher, Raúl Russo. In 1951 he attended to the André Lothe Academy in Paris and visited museums in France, Italy, Spain, England, Belgium and the Netherlands.

In the mid-50s he returned to Argentina, with his first wife, Terry Hanrahan where he stayed for a short time, since in 1955 he traveled to the US and remained there for three months.

He returned to Buenos Aires in 1956 and in 1956 he began to develop a series of collages and oils – made with rags, grilles, cardboard, blankets, which are a central part of the renewal of artistic language in Argentina. Between 1958 and 1960 he produced his series of “Suburban Landscapes”, assamblages made of wood, tree bark, veneers extracted by Kemble from emergency neighborhoods in Córdoba. In 1958 he exhibited for the first time at the Pizarro Gallery, in the Arte Nuevo exhibition. In 1961 he carried out the Destructive Art exhibition at the Lirolay Gallery, an experience that opened the path for Conceptualism in Argentina, and the experiences that will be carried out at the Di Tella Institute and the CAYC – Center for Art and Experimentation – during the 1960s ‘and 70’.

In 1963, the Museum of Modern Art in Buenos Aires dedicated its first retrospective exhibition and during the same year he exhibited individually at the Museum of Modern Art in Miami. 

Between 1960 and 1972 he was an art critic of the Buenos Aires Herald newspaper ; the Director of the Luján Museum between 1968-1972 and in 1962 he joined the Ernesto de la Cárcova Higher School of Fine Arts, a task he previously carried out in his workshop and that will continue all his life. 

In 1972 he obtained the first prize of painting in the National Salon of Plastic Arts Manuel Belgrano. The decade of the 70 will be fruitful for its artistic and critical production: he published in various media the texts “The Painting does not move, does not make noise and is not a means of communication, luckily” -1971 -, “Cultural Autocolonization I and II ”And“ In defense of the Academy ”-1976-.

During the decade of the 80 he exhibited individually in the galleries Alberto Elía -1980-, Ruth Benzacar -1985, 87, 89- and in the Center of Art and Communication- CAYC, 1988-. 

In 1983, he received the award for the best teaching work, awarded by the Argentine Association of Art Critics, and the best artist of the year in 1985, awarded by the same institution.

In 1987, the critic Rafael Squirru publishes the book “Kenneth Kemble, critical and biographical essay”.

Druing the 90’s he exhibited at the Rubbers Gallery -1990-, the Ibero-American Cooperation Institute -ICI, 1994-, Nexus Gallery -1998-. In 1994 he obtained the Grand Prize of Honor of the Salon of Plastic Arts. Between 1995 and 1998, two major retrospective exhibitions took place, the first one in the National Exhibition Halls and the last one in the Recoleta Cultural Center, entitled La Gran Ruptura. Obras(1956-1963), curated by Marcelo Pacheco.

In 2013 he had a solo exhibition at Malba (Museum of Latinamerican Art of Buenos Aires) entitled Kemble by Kemble.

His works belong to public collections, such as: Modern Museum of Art, Buenos Aires; Museum of Fine Arts, Buenos Aires; Palais de Glace, Buenos Aires; Provincial Museum of Fine Arts Dr. Pedro E. Martínez, Entre Ríos, Banco Velox, among others.