display portraits of political candidates. The work embodies nine separate canvases, communicating a sense of the overwhelming anarchy and continual unrest that defines Argentina's political process. The crowd forms one massive animal that blindly jostles and lobbies for some low level of survival, complicit in elevating the oppressors who cynically grin and bob far above them. In contrast, Cerrado depicts the people not as an indistinguishable mass but as individual grimacing visages trapped within a grid of boxes. The cloaked figure of a sorcerer looms above, nullified by a crucifix, surrounded by ferocious, fantasy animals. The iconography and structure of the painting suggest ideological incoherency and social chaos, belief systems or regimes continually supplanting one another and in flux while the citizens remain caged. Drawing An exhibition composed exclusively of drawings by the group in 1962, titled Esto at Galeria Lirolay in Buenos Aires had a significant impact on autonomous, experimental drawing in Latin American art. Otra Figuración emphasized process over technique. They influenced contemporaries Alberto Heredia, Cildo Meireles, Rubens Gerchman and Antonio Dias among others. The exhibit emerged from the political climate in 1962, one Noé likened to “social dislocation” and then linked to the “structural dislocation” apparent in the drawings. With the president of Argentina deposed by the military, Buenos Aires was once again in chaos and facing civil war. Emblematic of the exhibit, Noé's Sin titulo (Untitled) uses black India ink on pulp to create an artwork defaced with random slashes and blots, featuring rotund, distorted figures gathered around a black exploding center. Although the work appears to contain surreal elements, it's a true, psychological and emotional expression of Argentina's then current and seemingly perpetual social and political disorder. Otra Figuración was officially discontinued in 1963, although the group continued to exhibit together until 1965. New York (1965−1966) Following Otra Figuración disbanding in 1965, that same year Noé received a Guggenheim fellowship that allowed him to relocate to New York City. He pushed his ideas regarding chaos even further at this time, creating huge, unsaleable and difficult-to-store assemblages—even throwing his work into the Hudson River. He also published Antiestética in 1965, a text explicating his theories on chaos, “the purpose of anti-aesthetics today is to split the concept of unity.” In the introduction to the 1966 exhibition brochure at Bonino Gallery in New York City, Noé revised an earlier opinion on the fusion of figures, reflecting the