Edgardo Vigo (1928-1997) was an ancient Argentinian multifaceted artist. From a neotist trend, with concrete, surrealistic, conceptual (among other influences) links, it has been engaged in the production of xylograths, objects, visual poetry, collages, performances, conceptual art, mail and a kind of artisanal work with timber, threads, paper and stamps. He worked in arte-mail for 20 years and was part of a large network of artists in the world who decided to work out of the most conservative art institutions. In this regard, Vigo always edited: from quadernites, small magazines with only a number of books, cutting-out and entangled papers, to publications that lasted for years and became emblematic. It was also devoted to a particular activity: transcribing in typed form texts already published from other authors and re-binding them to form a new book. Editing was a key task in his life, and magazines were published for many years. Among them, Hexagon’ 71 has been one of the most relevant. There, gender and support were disrupted, and their relationship with politics and politicians gained prominence. This is a device whose multifaceties are at the crossroads of aesthetic and radicalised political and aesthetic intertwination, which gained different weights over time: the ways and proportions in which they were combined invalidate any linear interpretation that identifies increased political commitment to abandoning artistic practices or state-of-the-art aesthetics. Hexagon ‘71 was an assembled magazine that Vigo created, led and edited in Argentina, and a large part of its content was also produced by him. Vigo took the decisions in loneliness, including poetry, drafts or texts sent (or directly taken by) various artists and authors, almost without consulting other colleagues. It thus became a magazine directly tied to its personal production (one example being the publication of notices that continue with the numbering of its series), as an extension of its artistic work in other fields, also visible in the choice of works or texts to be published, which were related to its own contacts in Argentina and the world. Thirteen issues were published between 1971 and 1975, all in La Plata, on a quarterly basis and a print run of five hundred copies. It was an art magazine dedicated to the publication of visual poetry, stories, proposals for actions, communications, trials, longer parts of texts. Despite the changes that took place over time, it remained keen to show and discuss the different forms of plastic expressions. Here we will develop an analysis which tends to recognise and interpret the most salient aspects in that direction, based on its material characteristics and changes in the medium and gender, and then move to published works, both textual and artistic, and variations in authors. Finally, we will propose to focus in particular on the relationship of the magazine with Argentinian policy themes and developments. Taking these variables into account, we have divided the analysis into two stages, as this is required by the magazine itself. It is revised by: http://sedici.unlp.edu.ar/handle/10915/51572 Centre of Experimental Art Vigo Faculty of Humanities and Education Sciences