Olga Blinder

In addition, she has been recognized by the League of Women's Rights, by the Brazilian government, and received the Integración Latinoamericana award from the Ministry of Culture and Education of Argentina.

[4] In addition to her artwork, she also became a licensed professor that focused on creative education and art for the thirty years that she taught.

[9] The group's aesthetic lacked unity but its art related to constructivist abstraction, stylizations of figuration, and social realism.

Her style was known for being expressive and containing hard, rigorous depictions of roughness, generally involving people as the central theme.

[12] The 35-year dictatorship of General Alfredo Stroessner from 1954 to 1989 was also a central motivation for her artwork in which she sought out to denounce human rights abuses and depict the hardships everyday people were facing.

In the 1980s she went back to expressionism as the central aspect of her paintings and her work became more introspective, still embodying themes of human nature and hardship.

[12] During her lifetime she participated in a variety of international exhibitions in places such as Holland, Venezuela, Argentina, Spain, Chile, Lisbon, Colombia, Uruguay, and the United States.

The painting depicts two individuals, yet their facial features seems to be mirror images of each other, both displaying a morose appearance with their eyes turned downwards and their mouths frowning.

The individuals seem to be displaying some sort of immense grief that is shared between them, as seen with their overlapping bodies and the dark tones utilized in the painting.

The jagged angles of the woman's body and angular shapes present in the piece depict the harshness and tough nature of daily life as a worker.

[16] In her piece Inútil Espera (Useless Wait), done in 1968, Blinder makes use of the female body by referencing a "semantic field that associates more universal aspects of female experience with the specific situation of Paraguayan women - waiting for companions in exile or for political change in the country.