This experience was abandoned; it was difficult to fulfill it, with a closed approach, and having just returned from New York, I assumed that in fact I was not painting. It seemed to me that the world, with its boundless events, exceeded any symbolic possibility and that one could only participate in the change and political-cultural incitation mechanisms. The international spirit prevailing in 1968 accelerated this belief and I somewhat acted consequentially, but ambitions were many and results were minimal, almost unperceivable. On the other hand, with the contribution of partners I could materialize a bar, the Bárbaro, as a way to heat the environment. Then I wrote the book El arte entre la tecnología y la rebelión, which I left unpublished when, almost at the end, I suspected that its foundations were magnificent and accurate but its proposals were innocent. At that time, I did publish two books: Una sociedad colonial avanzada (1971), dealing with paradoxes of the Argentine society of that period, and Códice rompecabezas sobre Recontrapoder en cajón desastre (summarized under the name of Recontrapoder). The latter book is a novel of an absolutely subjective nature which includes drawings. It was published in 1974, when I was already undergoing the process of finding myself again with painting after a period of psychoanalysis and a teaching experience to earn my living. Beginning with my sessions of psychoanalysis, where I made drawings while I talked, I rediscovered the language of line. Drawing prepared my return to painting.