Ferrari's protest piece "Western and Christian Civilization", which depicted a near life-size Christ hanging crucified on an American fighter jet, attracted controversy when he created it in 1965, and it has been exhibited many times since.

[3] In 1952, Ferrari moved to Italy with his family because his daughter, Marialí, was fighting tuberculosis and he wanted her to have access to high quality medical care.

With his return to Argentina, Ferrari began to explore sculpture using different mediums including, wood, plaster, and cement, and, in the 1959, wire.

[1] In 1976, Ferrari took his family to São Paulo, Brazil, entering into a period of exile, due to threats from the Argentine dictatorship of the time.

Some of his most controversial images depicted saints, the Virgin Mary, and Jesus found in toasters or microwaves, on nude figures, or being defecated on by live birds.

He deals with issues of United States foreign policy with the Vietnam War in his best-known work, La civilización occidental y cristiana (Western-Christian Civilization, 1965).

[5] Ferrari's reasoning for using this medium has also been said to "question the distinction between art and language—between pure visuality and codified information, and between graphic gesture and calligraphy.

The director of Center of Visual Art for the institute, Jorge Romero Brest, told Ferrari to remove this famous work or he would not be allowed to participate.

[13] The controversy surrounding Western and Christian Civilization manifested Ferrari's central role in Argentina's political protest art.

The exhibitions displayed photographs, articles, and short videos collected by the group of artists which showed the hardships and economic distress of the people living in Tucumán.

As these exhibits were an exposure of the corrupt government, attacking the powerful and dangerous Argentine dictatorship of the time, many of the artists who helped with Tucumán Arde remained in the background, not wanting to place a target on their back by proclaiming participation in the events.

Ferrari held exhibitions of this bird display in galleries around the world, first at the São Paulo Museum of Modern Art, then later in other cities, including Buenos Aires and New York.

Ferrari is quoted explaining these Heliograph artworks: "These works express the absurdity of contemporary society, that sort of daily madness necessary for everything to look normal.

In the first, he took lines from the poems and stories of famous Argentine writer Jorge Luis Borges, and emboss the words in Braille on erotic or nude photographs.

In both cases, the idea was to force viewers to touch or, as Ferrari often described, "caress" the naked bodies depicted in the prints in order to understand the words written on the image.

The words "la serpiente me engaño y comí," which is Genesis 3:13 (translated: "the serpent deceived me, and I ate"), are embossed in braille over the area in the image where the couples' genitals come together.

For one of these image-covered mannequins, titled Devoción, he used many different Christian images, including Jesus' miracles, martyrdoms of saints, and the birth of Christ, with a central figure was the Virgin Mary.

The idea Ferrari is playing with here is that of the "clothing of grace" that covered Adam and Eve in the Garden of Eden, withholding the shame that their nudity would later bring.

A specific example is when Ferrari overlaid the Nazi swastika on a photo of the entrance sign of the Colegio Militar de la Nación, where Argentine officers received training.

Ferrari's controversial images were simply meant to invite viewers to contemplate how Argentine political regimes and Nazi Germany were different, or how the might in fact be similar.

In 1997, Ferrari founded a group called CIHABAPAI (Club of the Impious, Heretics, Apostates, Blasphemers, Atheists, Pagans, Agnostics and Infidels).

On Christmas day, 1997 Ferrari, in conjunction with the CIHABAPAI, sent a letter to the Pope John Paul II, asking him to remove the doctrine of Final Judgement from Catholic theology.

In 2000, Ferrari held an exhibition called "Infiernos e Idolatías" (Infernos and Idolatries) at the Cultural Center of Buenos Aires.

He included his series of birds defecating on Christian images, as well as newer pieces where plastic saints were placed inside various cooking devices such as toaster, pans, and microwaves.

Ferrari rebutted the critiques questioning how Christians could spend 2,000 years condemning the suffering of Jesus at the crucifixion, while simultaneously ignoring and justifying millions of the world's poor and marginalized.

Ferrari made his final move by publicly thanking the cardinal for the free advertisement of his exhibition whose numbers of visitors continued to increase.

When the wind blew through this sculpture, moving it even a little, the rubbing of the steel wires caused a low, humming tone which many find musical.

The basic theme was a repetitive, closed loop of some sort, whether it be a road, street layout, room design, furniture order, or simply patterned object.

The idea behind this piece, as well as many others from "Heliografías" is that he is questioning "the most diverse systems of order in our world and their sociocultural demands for territory - whether it is the church, the state, or architecture.

Many critiqued him for being too political in his artwork, to which Ferrari famously responded: "The only thing I ask of art is that it helps me express what I think as clearly as possible, to invent visual and critical signs that let me condemn more efficiently the barbarism of the West," he wrote in 1965.