Madí (or MADI; also known as Grupo Madí or Arte Madí) is an international abstract (or concrete) art movement initiated in Buenos Aires in 1946 by the Hungarian-Argentinian artist and poet Gyula Kosice, and the Uruguayans Carmelo Arden Quin and Rhod Rothfuss. The movement focuses on creating concrete art (i.e., non-representational geometric abstraction) and encompasses all branches of art (the plastic and pictorial arts, music, literature, theater, architecture, dance, etc.). The artists in the Madí movement consider the concrete, physical reality of the art medium and play with the traditional conventions of Western art (for instance, by creating works on irregularly-shaped canvases). Artwork of Madí movement appeared in eight issues of its magazine, Arte Madí Universal, published between 1947 and 1954. Historical Context The Grupo Madí was one of two prominent groups of artists pursuing abstract art in Argentina. The other was Arte Concreto-Invencíon, or AACI, founded in 1945. The Madí art movement formed as a reaction to the AACI, whose art was perceived by the Madí group as being too strict in their method of creating concrete art, resulting in a lack of expression in their artworks. Operating under the rule of Colonel Perón, whose time in power was characterized by a volatile political climate, the Madí artists used their art to make statements with social and political implications. One of the most overt criticisms made by the Madí movement criticized cultural authorities in the Arte Madí Universal magazine, commenting "[t]he last submission to the Venice Biennial has signified for Argentina a blunt negation of the new [artistic] values. We invite competent authorities to stop and compare the true current of contemporary plastic arts with the submissions that today put us [our country] half a century behind", which vaguely attack the aesthetic choices of certain cultural officers under Perón. According to Pérez-Barreiro, Madí and Concrete art (referring to the Asociación Arte Concreto-Invención (AACI)) are the artistic parallel(s) of the political phenomenon of Peronism. These artists were also seen as combining modern art with Communist ideology. Some scholars, including Barreiro, saw the government was an outspoken critic against concrete art as a whole, whereas others such as Andrea Giunta assert that the Madí and Concrete groups were not victimized under Perón's regime; rather, they "coexisted on its margins". The political regime of Perón made use of both linguistic and visual images for propaganda purposes. This is seen in his use