Gregorio Vardánega was one of the emerging Argentine artists during the decade of the 1940s in Argentina and belonged to the Concrete-Invention Art Association. He was born near Venice, Italy in 1923, and lived in Buenos Aires since 1926, where he studied at the National School of Fine Arts. His participation beginning in 1946 in a group of brilliant artists such as Tomás Maldonado, Alfredo Hlito, Manuel Espinosa, Juan Melé, and Ennio Iommi, among others, identified him as an operational current marked by rigorous conception and the quality of its praxis. A trip he took to Europe between 1948 and 1949 allowed him to meet artists such as Max Bill, Georges Vantongerloo, and Antoine Pevsner. On his return to Buenos Aires, he became a member of the Non Figurative Argentine Artists (ANFA, its Spanish acronym) group, and was one of the artists representing Argentina at the 1957 São Paulo Biennale, later representing this country at the Brussels International Exhibition, where he won a gold medal. From the beginning of his artistic career, Vardánega chose a peculiar path. In 1946, he had already submitted a mock-up of an aquarium filled with water that would constantly change colors. In addition to creating paintings of great compositional subtlety, at one point the artist became interested in experimenting with the use of glass sheets, or Plexiglas, and fashioned spatial structures consisting of plaster semi-spheres with threads aligned over their concave parts, following a compositional order ruled by the golden ratio for establishing virtual planes. He believed that the sphere, circle, oval, and spiral were connected to the cosmic movements. In another work entitled Principio Cósmico (Cosmic Principle), Vardánega used small points in space to determine vertical and horizontal spirals that could be observed from several viewpoints. This interest in creating perspective movement for the spectator, compounded by his desire to multiply space by superimposing transparent planks, prompted him to leave his investigations on illusory movement behind to deal with real movement. He then undertook complex montages using chromium-plated steel and Plexiglas moved by electronic circuitry that generated lighting effects. Vardánega thought that transparent color, space-color, sonorous illumination, light refraction, and reflection and its transmission through solid, liquid, and gaseous products were inexhaustibly rich elements that could be used to pursue aesthetic research. His great inventiveness permitted him to make good use of natural, randomized and programmed movements. He created polychromatic spaces that are truly chrome-kinetic reliefs, such as his work Torres Cromocinéticas (Chromo-kinetic Towers), with luminous displays programmed at several levels. Synchronizing light and sound was one aspect of the artist¿s work that led him to undertake animation façade projects for architectural environments or public park shows. He created chromo-kinetic structures for several French shopping malls in Creteil, Montpellier, Thiais, Noisy le Grand, and in Paris he created the ¿Mur Cinetique¿ for the Rothschild Bank. These are works of great importance, not only because of their size but due to the complexity Vardánega achieved in mastering the technical and visual elements at play.