This beautiful book, heavily illustrated—along with the exhibition of works by the artist at Centro Cultural Recoleta—restores María Martorell to the place she deserved in the arts of Argentina. The layout of the book can be disorienting to unadvised readers. The presentation is by Andrea Elías, director of the Museo de Bellas Artes de Salta. Over fifty excellent illustrations of Martorell's work come next, interrupted in some cases by notes and in other by a blank color page. The notes refer to important landmarks in her career, such as Fuga (1958-59), which marks the point hen Martorell began to work within Concretism, or Echo (1968), a diptych that signals the beginning of her work with undulations. Something similar happens with Sigua, when her undulations ceased to touch the frame of the support; Silencio (1981) marks the reduction of her palette to a chromatic scale in a single tone, with colors absorbed by the background. The book also features essays by María José Herrera and Andrea Elías. Both have painstakingly built the Martorell archive. Herrera notes, accurately, the anxiety that the passage of time caused Martorell, who identified with the avant-garde practices of younger artists. She then refers to the importance that the Art Sociology lessons of Francastel and Paul Rivet, in Paris, had for Martorell, a highly cultivated woman. These teachers distilled her prior education, accomplished through readings and classes with Romero Brest, and helped see art as a form of knowledge. Also her dialogs with artists of such caliber as Vantongerloo, Schoeffer, and Jesús Soto, as well as the studies that were beginning to appear in the local scene about visual perception and the psychology of form, provided her with the conceptual scaffolding that Martorell deployed in a mature manuscript in 1965. Herrera underscores the recognition se found in being selected by Romero Brest—then the director of the Museo de Bellas Artes—for the exhibition Ocho artistas constructivos, alongside Bruzzi, Espinosa, Lozza, Sabelli, Vidal, and Silva. The author then details important exhibitions of which Martorell was part, such as Del arte concreto a la nueva tendencia (1963, at the Museo de Arte Moderno), Más allá de la geometría (at Instituto Di Tella), Once pintores constructivos. Herrera doesn't fail to mention the Americanist relevance of her period devoted to tapestries, and then the ambient work titled Banda oscilante, where Martorell sought a way out of traditional languages, without betraying them. Her dream of bringing to the fore the energy of color became, here, a metaphorical trajectory. The essayist also points out Martorell's participation in the boom of exhibitions of applied arts and new materials. In Objetos útiles e inútiles con acrílicos Paolini (1970), the artist exhibited Experiencia A6, a dividing panel for interior decoration in the category of useful objects, and two works made in collaboration with Rogelio Polesello in the category of useless objects. Martorell was invited to present solo exhibitions in Venezuela and Colombia, and to participate in a collective show in México City, after which one of her works became part of the Mexico's Museo de Arte Moderno collection. Finally, Herrera notes the appreciation of three important Argentinean critics: : Fermín Fevre, Rafael Squirru, and Guillermo Whitelow, the latter having published in 1990 a book devoted to the artist. (1) Andrea Elías' essay is also organized linearly, but it is sprinkled with flavorful details: her friendship in Salta with Manuel Castilla, Cuchi Leguizamón, and others; the organization of her wo...