Rafael Cansinos Assens’s first ultraist manifesto appeared in the magazine Grecia (Madrid), helping crystallize Ultraísmo as a self-conscious avant-garde tendency tied to café tertulias and new little magazines.
Guillermo de Torre consolidated Ultraísmo’s program through key theoretical interventions in 1920, including the Manifiesto Vertical and related statements that promoted condensed imagery, typographic experimentation, and a break with inherited modernismo aesthetics.
After participating in Ultraist circles and publications in Spain, Jorge Luis Borges returned to Buenos Aires in 1921 and actively introduced Ultraísmo into local literary networks—an early hinge in transatlantic avant-garde exchange.
The wall-poster journal Prisma. Revista Mural appeared in Buenos Aires as a low-cost, street-level vehicle for Ultraist ideas and layouts; only two issues were produced (1921–1922), associated with Jorge Luis and Norah Borges and other young writers.
Manuel Maples Arce issued Actual No. 1: Hoja de Vanguardia. Comprimido Estridentista in Mexico City (dated December 1921), a broadsheet-manifesto that launched Estridentismo and explicitly positioned it within an international avant-garde constellation (including Spanish Ultraísmo).
The little magazine Proa (Buenos Aires) began its first epoch (1922–1923), providing a platform for a new-generation program of “literary renewal” and strengthening regional circuits through contributor networks that linked Buenos Aires to Spain and the wider vanguardia.
Oliverio Girondo’s debut Veinte poemas para ser leídos en el tranvía appeared in 1922 (first edition in France), quickly becoming a landmark for Argentine vanguardia poetry and exemplifying how travel and print culture enabled transatlantic stylistic transfer.
José Ortega y Gasset founded Revista de Occidente in Madrid (1923). With broad circulation and translation activity, it became a key conduit for ideas and texts moving between European modernism and Hispanic/Latin American intellectual scenes.
The Buenos Aires magazine Martín Fierro began appearing in February 1924 and quickly became a leading Argentine avant-garde forum, helping define local modernist factions while staying in dialogue with broader Spanish-language vanguardia currents.
José Carlos Mariátegui founded and directed Amauta (first issue September 1926), a major Latin American vanguardia journal that braided avant-garde aesthetics with politics and debate on indigenismo and continental cultural renewal.
La Gaceta Literaria released its first issue on 1 January 1927 in Madrid, declaring an “Ibérica‑americana‑internacional” scope; it became a high-visibility hub for Spanish vanguardism and sustained transatlantic literary reporting and exchange.
On 15 March 1927, Cuban intellectuals launched Revista de Avance in Havana, creating a prominent vanguardia platform that combined aesthetic debate with anti-imperialist politics and maintained international contributor networks.
The magazine Contemporáneos began its run (1928–1931) in Mexico City, articulating a modernist commitment to artistic autonomy while engaging international modernism—an important counterpoint to more overtly politicized vanguardia programs in the region.
Vicente Huidobro’s long poem Altazor o el viaje en paracaídas was published in Madrid in 1931, becoming a signature work of the Hispanic avant-garde and a late, influential expression of Creationism’s language experiments in a transatlantic publishing setting.
The literary magazine Sur began publication in Buenos Aires in 1931 under Victoria Ocampo, backed intellectually by Ortega y Gasset; it institutionalized an internationalist orientation in Argentine letters and extended earlier vanguardia-era transatlantic networks into the 1930s.
Latin American avant-garde: Ultraísmo, vanguardia, and transatlantic exchanges (1919-1935)
