Member of the Prints Club from 1961-65, where he developed a distinctive style of figural printmaking. Lived in Europe after 1966.

Long-time teacher at the Prints Club, he studied with Pedro Figari in his youth. Usually depicted "typical" Uruguayan subjects, in this case Afro-Uruguayan performers of Candombe.

Founder of the Prints Club in 1953. This work commemorates the death of the first student protestor, just before the imposition of the military dictatorship. The title comes from the novel The Purple Land by Henry Hudson. The artist went into exile in 1976.

Exiled in 1974, a few months after exhibiting this work, which comes from a series which condemns the imposition of the military dictatorship. The severed hand in the work alludes to the death of Chilean protest singer Victor Jara.

Long-time member of the Prints Club, her calendar for 1974 was censored by the police, setting off the reorganization of the Club under the dictatorship. The present work contains a text of words run together which reads something like this: This is nothingmore thanaheap ofwordsandbeings alltogetherandpile dupfillingasp acewhichbelongstothembe causetheywerebornw ithoutchoosingthisthems elvesandhere theyaretogetheroccupying aplacetheirplacetheirp lacejustlikeyouandme.

Member of the Prints Club during the dictatorship, his style shows the group's evolution toward silkscreen and toward more personal, expressive subject matter.

Member of the Prints Club during the dictatorship, her style shows some relation to postmodern appropriation. She made prints from self-portrait photographs after painting her own face.

Director of the Prints Club for most of the years of the dictatorship, he was in charge of keeping the production of the Club out of trouble with military censors. He developed an ironic style in his own prints.