Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published). Edgardo Antonio Vigo.
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).
Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).

Hexágono 71. No. 1/a (1971) through 13/e (1975) (all published).

A complete series in 13 folders of the political artist's book-style journal under the editorial direction of Edgardo Antonio Vigo, which was distributed as an envelope or folder containing loose illustrations, visual poems, works "to be created", woodcuts, drawings, essays, collages, mail art elements, and calls for works by local and international authors, and containing contributions from a group of international artists and authors hailing from Argentina, Chile, Brazil, Uruguay, the United States, France, Italy, and the United Kingdom. Illustrated throughout. Square 4to. Original printed cardstock envelopes and paper folders, contents loose as issued. Some slight age-darkening and very minor foxing to some of the folders and envelopes. La Plata, Argentina 1971-1975.

An important experimental mail art periodical from the South American avant-garde movement which rose up during the dictatorship of 1966-1973, Hexágono 71 contained no editorial commentary, page numbers, or editorial credits. There was not a fixed group of contributing artists either; rather, the issues were formed around the works that were sent in. Many of the works engaged with the violence of the military regime. Vigo wished to "share the necessity of breaking the dangerous suffocation that hovers over the universal creative-investigator's free expression." The issues were also systematized by a lettering system rather than sequential numbers. Hexágono 71 had a small subscription-based distribution centered around circles close to Vigo, both in the Judicial Courts, where he worked, and among his fellow artists. Vigo also would surreptitiously abandon issues in train cars, for the purpose of reaching an unknown audience. Book ID: 48779

Price: $11,500.00