Although he was active in the Pop art movement through his participation in Torcuato di Tella Institute, Santantonín's personal artwork was based more on conceptual and abstract idealism.
He wanted his creations to fuel the collective power of a transformation movement he imagined was possible during his time and the scope of his radicalism conveyed in his brief writings detailed that at the moment, it was a perfect opportunity to stand up for “unstable art”.
While Santantonín did not go to school or have any formal training, he eventually made a name for himself through his creation of a unique mode of art making, which he called "Arte-cosa" (or "Art-thing").
[2] Constructed out of cardboard, paper, rags, canvas, wire, plaster, and other various materials, the Cosas (or Things) were one of Santantonín's most memorable art pieces.
While Minujin and Santantonín were unlikely partners due to their generational gap, these two artists became close from the beginning based on their mutual interests in popular culture and Kitsch.
[4] In each they encountered a different multi-sensory experience, including couples in bed, a cosmetics counter with an attendant, and a room covered with mirrors with falling confetti and the scent of frying food.
Ironically, this act of destruction by Santantonín left a legacy that can be read as one of the many symbolic gestures signaling that the “adventure of the sixties”[1] was coming to an end.