Septiembre is a double life-size sculpture in aluminum mesh and welded iron. It is a wavy silhouette figure that curves graciously. Despite its monumental size (158 x 34 x 11 in.) the figure looks subtle and light because you can see through it and because it is almost bi-dimensional. Spring begins in September in the Southern Hemisphere, therefore, this silhouette is associated with youth, the joy of life, love, and flowers. In 1990 Marta Minujín made a series of twelve silhouettes called Los meses del año (Months of the Year) that were created over the course of a year and, according to the artist, they represent the passing of time. Minujín -best known for her performances, her “happenings,” and largescale sculptures-says: “They are ecological works of art because they are transformed with the climate and they integrate with the landscape. My idea is that they interact with the atmospheric changes and nature, they are moved by the wind, covered by snow or leaves, get wet with the rain and birds can nest inside them.” In 2012 three of these sculptures, Abril, Agosto, and Septiembre, were exhibited at the terrace of MALBA Museum-Colección Costantini, in Buenos Aires. Three of them are also in the Andes at the Salentein winery in Mendoza, Argentina. Marta Minujín was born in Buenos Aires. She studied painting and sculpture at Escuela Nacional de Bellas Artes Manuel Belgrano and Escuela Nacional Prilidiano Pueyrredón, both in Buenos Aires, and started a path of experimentation that led her to become an avantgarde artist. Her first performance piece or “happening” was Destruction (1963), in Paris, where she was studying under a scholarship. In this piece, she invited other artists to paint, transform, or destroy her works of art, and later she set them on fire. There she got in touch with artists from the Nouveau Réalisme, Informalists, and others such as Niki de Saint Phalle, Christo, and Robert Rauschenberg. She developed the concept Arte-Vida (Art-Life), which meant that people had to live art, get inside art. In 1963 she created with Ruben Santantonín La menesunda, an installation with the participation of the public. In 1966 she was awarded a Guggenheim scholarship and traveled to New York City, where she befriended Andy Warhol. In 1984 they made a series of ten photographs called Payment of the Argentine Foreign Debt to Andy Warhol with Corn, the Latin American Gold, in which she hands him corn while sitting on a pile of corn. For over a decade she divided her time between the United States and Argentina. In the 1970s, she focused on consumerism and popular culture icons. In the next decades, she explored great scale sculptures such as Carlos Gardel, of the tango singer, which she set on fire; a monumental obelisk made of pan dulce that people could eat; and a Parthenon made of books banned during the Argentine dictatorship.