The awareness that I was the only one that had assumed chaos with reinsurance, submerged in an enveloping environment, when the world surrounding me only offered me tensions and ruptures, led me to talk about broken vision, divided painting and, for the first time consciously, about the assumption of chaos. In this second phase, the four members of the group, after a year spent in Europe, assumed that our proposal was to take advantage of all the aesthetic experiences from an eclectic point of view. In an alluvional country that was the corresponding fact. Our artworks of the 1962-1965 period give evidence of it. The Argentine history, with its violent contrasts, continued being an important reference in my artwork; in the past I dipped the brush in the 19th-century inkpot, in this period I dipped it in the 20th-century inkpot, particularly with the memory of my teenager experiences in times of the first Peronist period. Also, my last Christian traces, at a critical point, appeared in some of my paintings. During this period, I held no solo exhibitions and only participated in the shows held by the group, which had no name than our own last names: Deira, Macció, Noé, de la Vega. But we were known, by the public opinion, as Nueva Figuración (New Figuration), a name that never satisfied us.