In 1964, during my first stay of nine months in New York, I personally started maximizing my assumption of the chaos and I extended it to the installations. The use of this word did not exist yet in the aesthetic field, but these sui generis works extending toward the space, in some way, were installations (proto-installations). They were complex artworks including paintings, canvas frames alone, hanging paintings and wood silhouettes interweaving each other and invading the rooms. At that time, I wrote the book Antiestética (understood as creative aesthetics vis-à-vis established aesthetics). One chapter dealt with chaos as a structure. During 1964 and 1965 I painted artworks exemplifying this period, some of them in New York—I went to this city thanks to the Di Tella Award—and some others painted in Buenos Aires upon my return. Additionally, 1965 was the year of the group dissolution.