'Extra-vagrancy' is neither nomadism nor errancy. It is a luminous and open skyline. It plays on multiplicity and casual encounters. Extravagant, vagrant, the 'extra-vagrant' plays upon the continuous breach of habit and invents new ways of being. Evidently, extra-vagrancy is the kernel of an imagination that always finishes by revisiting its point of departure.
- Annemarie Sauzeau Boetti¹

Prominent Argentinean theorist Jorge Romero Brest claimed that the birth of the avant-garde in Argentina - which coincided with a schizophrenic climate of authoritarian military interventions, flimsy democratic governments and increasingly radical social dissent - kicked off in earnest with La Menesunda, a happening-like 'experience' staged in the late spring of 1965. Installed in Buenos Aires at the dynamic Instituto Torcuato Di Tella where Brest served as director, La Menesunda was initiated by artists Marta Minujín and Rubén Santantonín in collaboration with Brest, David Lamelas, Pablo Suárez, Rodolfo Prayon, Floreal Amor and Leopoldo Maler. Visitors were transformed into active participants in a series of 16 vignettes that displayed 'a couple in bed, ushered them into a gigantic head, locked them in a room from which they could exit only by dialling a telephone number, then presented images of them on a television screen that had been taken as they were walking through the exhibition, and finally guided them through a room where several fans created whirlwinds of confetti.'² The environment provoked a local media frenzy and evidenced the young artists' decisive turn from a modernist, Concrete agenda to one consisting of 'Informalist' experiences emphasising action over objects. Over 1.5 million people visited La Menesunda, and the agenda for Instituto Torcuato Di Tella was irreversibly