by Adriano del Valle. In the Spanish literary magazine, Grecia, she was asked to redesign the graphic design elements of four covers and a new header for their opening page at the age of eighteen. After leaving Sevilla, she passed through Granada and then finally came to Madrid, where she studied with the painter Julio Romero de Torres. Here she befriended the poet Juan Ramón Jiménez. She illustrated a number of his books and dedicated a portrait to him in her book Españoles de tres mundos. In March 1921, Borges returned by boat to Buenos Aires. As a young painter, she aligned herself with the vanguard artists of the Florida group. Her work in Prisma (1921) reflects the ultraist (anti-modernist) ideas of the group, but her illustrations for magazines such as Mural, Proa (1924-1926) and Martín Fierro, and her illustrations in the first edition of the poetry book Fervor de Buenos Aires by Jorge Luis Borges (1923) reveal the influence of the Cubism that she had begun to assimilate with her French contacts in Spain. In 1923, the French surrealist magazine Manomètre, and, in 1924, Martín Fierro published her paintings. In the September-October 1924 issue of Martin Fierro, Borges' first collection of poems called Calle de la tarde were displayed. Also in 1924, Borges created a woodcut cover for the Mexican journal, Antena. Two years later, two of her illustrations were in the magazine Amauta. When creating for Amauta, she was working underneath José Carlos Mariátegui, who used illustration as a tool to help women artists in Latin American advertise their artwork. In 1926, she displayed 75 works (oils, woodcarvings, drawings, water-colorings, and tapestries) in the Asociación Amigos del Arte exhibition. In 1928, she married the writer and art critic Guillermo de Torre, a student of the Ultraist movement and an expert on Avant-Garde art and literature, whom she had met in Spain when she was 19 years old. They had two children. In the Second World War, she became a vocal supporter of Junta de la Victoria, an association of anti-fascist feminists in Argentina directed by Cora Ratto de Sadosky and Ana Rosa Schlieper de Martínez Guerrero. Also included in the group were the writer María Rosa Oliver, the photographer Annemarie Heinrich, the psychoanalyst Mimí Langer, the artist Raquel Forner, and the poet Silvina Ocampo. Post-war career After the war, Norah spent one month with her mother Leo Acevedo