Grupo Madí and Asociación Arte Concreto-Invención are abstract art movements that originate in Argentine. Both the Grupo Madí and the Asociación Arte Concreto-Invención emerged in Buenos Aires in the latter half of the 1940s. Each comprised a like-minded group of painters and sculptors working in more-or-less constructivist and geometric modes of nonrepresentational art. These artists came together for the purposes of exhibiting and supporting rival, although closely related, theoretical platforms, which were expressed in manifestos, publications, and “happenings.” The art of both groups appeared radical by virtue of its experimentation with new and often industrial materials, and its break with conventional sculptural and pictorial formats; sculptures and reliefs often employed movable components that invited the spectator’s participation.

Arte Concreto-Invención and Madí had a common point of origin in the magazine Arturo, published as a single issue in 1944, which had espoused the cause of abstract art in Argentina. Its contributors included Carmelo Arden Quin, Gyula Kosice, Tomás Maldonado, Lidy Prati, Rhod Rothfuss, and the poet Edgar Bayley. Maldonado, along with Prati, Alfredo Hlito, Manuel Espinosa, Enio Iommi, Claudio Girola, Raúl Lozza, Alberto Molenberg, and others officially inaugurated the Asociación Arte Concreto-Invención with a manifesto and an exhibition at the Salón Peuser in March 1946. That August, the Grupo Madí was launched with an exhibition at the Instituto Francés de Estudios Superiores that included Arden Quin, Kosice, Rothfuss, Diyi Laañ, and Martín Blaszko. The origin of the name “Madí” is contested; its meaning, depending on the source, is either nonexistent or an acronym, most convincingly of “movimento arte de invención.”