a loosening of gray beams.NNandy: Arrangement for new personal cuño.Nem-Er: Record of instances.Nigs: Opening that is left so that a cluster of enchanted powder emigrates.Novoh: Shooter that the riverside authority exercises to learn the coastal ruling Selected Artists and Artworks Representatives of the Madí movement, in addition to Kosice, Quin and Rothfuss, include Martín Blaszko, Volf Roitman, Waldo Longo, Juan Bay, Esteban Eitler, Diyi Laañ, Valdo Wellington, and Ladislao Pablo Győri, among others. Gyula Kosice Röyi, 1944 Lámpara, 1961 Ciudad hidroespacial, 2005 Sobre Relieve, 1950 Pintura Madi, 1948 Hidroluz (Lampara de pie), ca. 1975 Coplanal, 1947 Parabolica, 1960 Gota de agua, 1960 Revolving water, 1964 Hidroluz [Hydrolight], 1975 Rhod Ruthfuss 3 circulos rojos, 1948 Diyi Laañ "La batalla de Inod", (short story) 1947 Tiagno, (play script) 1947 Others Tomás Maldonado, Composition, 1951 Lidy Prati, Concrete Painting 2-B, 1948 Exhibitions Aug. 1946 – Instituto Francés de Estudios Superiores in Buenos Aires, where the MADI manifesto was read Oct. 1945 – Concret invencion (French) Location: House of Dr. Enrique Pichon-Riveiere (leader of Psychoanalytic Societry of Argentina) Dec. 1945 – El movimiento de arte concreto-invencion, a multimedia event which became the hallmark of Madí exhibitions. Location: House of Bauhaus- trained photographer Grete Stern 1947 – Galerías Pacífico, Buenos Aires 1948 – Salon des Réalités Nouvelles in Paris 1958 – Art Madí International at the Galerie Denise René 1996 - Madí Internacional: 50 Años Después, Centra de Exposiciones y Congresos, Saragossa 2010 – Outside the Box: Eleven International MADI Artists, Polk Museum of Art, Florida Why MADI? To the question, "Why MADI?" Josee Lapeyrere, who met Arden Quin in 1962 and has since participated with her poem-objects in most of the events organized by the movement, replies: "MADI's goal is to be rigorous, inventive, gay and ludic." By the importance to which they accord spiritual and imaginative games, even the most serious MADI artists can be described as playful. Already in 1795, Schiller focused on "the inborn playful nature of man" as an explanation for his production of art forms. In his essay, "Homo Ludens" ("Ludic Man") (1938), Johan Huizinga observed that, "Play reveals an aspiration to beauty. The terms we use to designate the elements of play are, for the most part, the same as those utilized in the aesthetic realm: beauty, tension, balancing, equilibrium, gradation, contrast, etc. Like art, play engages and delivers. It absorbs. It captivates, or, in other words, it