She then had an exhibit with Ángel Planells of international surrealism in London’s New Burlington Galleries. With the outbreak of the Spanish Civil War in 1936, Mallo fled to Portugal. All of her ceramic work from this time was destroyed in the war. Later, Gabriela Mistral, who at the time was ambassador of Chile in Portugal, helped Mallo move to Buenos Aires, where she received an invitation by the Friends of Art Association to give a series of conferences about a popular theme in Spanish art, “Historical process in the way of the plastic arts,” in Montevideo and later in Buenos Aires. Exile When the Spanish Civil War erupted, Mallo went into exile in Argentina. When Mallo went into exile, her male partners in the creation of Spanish Avant-Garde Art, Vanguardist parties and Surrealist happenings began to boycott her, Occasioning her exclusion from the History of the Spanish Avant-Garde. Until recent years Mallo was rarely mentioned in Spanish Texts on Art and Cultural History. She was remembered for her affairs and her otherwise scandalous behavior such as winning a "Blasphemy Contest" and riding into church on a bicycle during mass than for her artist work. She was often simply labeled a "Mascot" or "Muse" of the generation of 27. In Argentina, Mallo quickly received acknowledgement through her collaboration with the avant-garde magazine Sur, in which Borges also participated. This was an age in her life that she dedicated to travel, living between Uruguay and Buenos Aires to design, paint, and ultimately to create. She also held exhibits in Paris, Brazil and New York City. Her first work there continued the path she initiated with Sorpresa del trigo (Wheat surprise) with works like Arquitectura humana (Human Architecture), Canto de espigas (Wheat ears), and Mensaje del mar (Message from the Sea). In the series Las Máscaras (The Masks), Mallo was directly inspired by the syncretic cults of the Americas. She found herself in this moment with her friend Alfonso Reyes, ambassador to Mexico in Argentina, with whom she would remain until 1938, the year in which she returned to Mexico. On 2 August 1938, Federico García Lorca’s Cantata en la tumba (Cantata in the tomb) premiered with Alfonso Reyes and music by Jaume Pahissa and scenography by Mallo. In 1939 she traveled to Santiago, Chile, where she was invited to speak in several conferences. From her time in Buenos Aires, the Museum