“disappeared.” Noé went into exile, relocating to Paris. Paris (1976−1987) Noé's art continued to evolve in Paris. Once again, he altered the frame of reference by re-texturizing huge pieces of canvas before painting, “crumpling and gathering, then stapling to the stretcher...creating a tortured surface for paint..” He also began painting expressive landscapes that reflected both internal and external turbulence, such as The Storm in 1982. He experimented further with drawing technique in Paris, creating a “progressive, narrative transformation of the original image” by using a Xerox to copy multiple redrawn versions of an original. Works such as One Passion and Four Transformations were considered a return to Otra Figuración's platform, “drawing as process rather than mimesis and formal idealization.” Later work (1987−1997) Noé returned, as always, to Buenos Aires in 1987 and continued to work with oversized canvases and landscape elements. His 1997 exhibition at Centro Cultural Borges and Galeria Rubbers in Buenos Aires consisted of a total of 60 canvases, all painted in 1997. Noé introduced a new visual element in this show, "violently colored stripes...to energize his landscapes." He also repeated the crumpled canvas technique developed in the 1980s to great effect in the painting Ominoso, a field of blue sporting streamers of crushed and painted canvas. Artistry Stylistic hallmarks of Otra Figuración's version of Neofiguration are strong, vivid colors and spontaneous, slashing brushwork; fusion of fragmented and distorted figures with each other and animals; political content; extreme sense of kinesis and the appearance of anarchy on canvas. Structurally, the group made use of collage, mixed media, oversized canvases, and assemblages that gave many of the works a sculptural quality. Overall, the artwork managed to merge form, content, process and philosophy. The philosophical platform of the group and its art are best expressed by Noé, “I believe in chaos as a value.” He doesn't demonize chaos but acknowledges and accepts the reality of its inescapable existence. The group's art reflects the political instability and uncertainty of life in Buenos Aires and also, in a larger sense, an awareness of the precarious situation of all human beings living in the incoherent modern world. Noé proposed that in such a world, chaos itself must become an organizing principle. Noé embraces both political and human chaos in his work, fearlessly entering the eye of the storm. Influences Informalism was the predominant movement in Argentina at the time, and Noé's influences were