perpetuated class-based social organizations. They believed that representational images "forced others to relate to concepts, connotations, and feelings which were superfluous to the object itself... which enticed individuals into supporting class-based organizations". The Concrete art they produced was meant to have a reality that was self-contained. In other words, the reality of the art ended in the object. In the minds of the Madí artists, "Concrete art was worthy as a contribution to social liberation" because it helped its audience grasp true reality while standing against the concepts, connotations and feelings associated with art. To state this differently, exposing people to what is actually reality allows people to eventually confront myths perpetuated by the bourgeois that has suppressed revolution. Madí is perhaps the sole remaining art movement which can boast of a half-century of uninterrupted activity since its creation in Buenos Aires in 1946. Today, the MADI movement has over 60 members – painters, sculptors, architects and poets – working in France, Italy, Belgium, Spain, Hungary, Japan, Argentina and the United States. One prominent figure behind this fifty years of artistic creation is Carmelo Arden Quin. The Madí Manifesto The Madí Manifesto was created to defend the importance of invention in the light of limitations imposed on concrete art by the excessive rationalism of European concrete art. This strictness of form in concrete art was also demonstrated by the Asociación Arte Concreto-Invención (AACI). The manifesto also called for "the integration of the nonorthogonal framework into representational space". Madí Dictionary In written works, artists "disrupted the construction of semantically coherent structures" to avoid attaching meaning to the art and the possibility of representation. The Madí created a dictionary that accomplished the opposite of what a normal dictionary does in that it confused and distorted the meanings of words and made up words. The following excerpt is from the Madí dictionary, which demonstrates a correct grammatical structure that relates ideas that are impossible to interpret meaningfully. This is an example of this incoherent construction which prevents interpretation:M Maclode: Upward hill. / Slope to insinuate land.Meril: Kidnapping of flat centimeters. / Madícional ['Madí-like' or 'of Madí origin'] opposition and resistance.Miogue: Account of events in which the authors of great answers participated.Molois: Site where the most varied adjectives are collected. / Fam. Insult.Musver: About the manner to focus in photography the liveliest glare of a childhood memory. / Fixation.Macichud: Line of shade that emits