Abstract
The versatile and prolific artist Leon Ferrari (Argentina, 1920–2013) was associated with the neo-avant-garde of the 1960s, in which a group of artists blended ethics with aesthetics and fused experimentation with politics. This study is an analysis of Ferrari’s writings as visual and political art, not only for its message but also on account of their questioning epistemological concepts bearing upon the place of writing in our civilization. These writings fill a far-reaching register, and can be: 1) artificial and, thus, illegible; 2) legible, although not always decipherable; and 3) manipulations of various appropriated source texts that create an alternative writing.
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