This book brings together many of the letters between the art critic Alfredo Chiabra Acosta, known as Atalaya, and the painter Carlos Giambiagi. The first is from 1913, shortly after they met, when Atalaya lived in Rosario and directed the magazine Bohemia, of which Giambiagi was a regular collaborator. The last one is from 1932, a few weeks before Atalaya's death. The two had an unrepentant anarchist will, it is likely that this was one of the causes that united them. If there is another, it is a common look at art. They shared an interest in defending a thought about shapes, colors, perspectives, materials and exhibition contexts, as well as about the system as a whole so as not to fall into its temptation. They did not elude, they faced to find self-awareness, a relative of lucidity. They were the best of their time, they will remain forever in a history of the stimulating of Argentine art. This is so, paradoxically so, thanks to the fact that they belonged in a wayward way to the time that touched them.