In 1944 he took part, together with other renowned intellectuals, in the publishing of "Contrapunto", an artistic and literary newspaper. He was a member of the newspaper’s editorial board. The newspaper published the first avant-garde expressions, contributed to the circulation of James Joyce’s "Ulysses", which had recently appeared, and published theoretical works on plastic arts, poetry and music. Other members of "Contrapunto" were the above-mentioned Lafleur, León Benarós, Arturo Cerretani, Roger Pla and Sigfrido Radaelli. Elías Pitterbarg, Ernesto Sábato, Samuel Eichelbaum (whose portrait appears in one of his works), Héctor Agosti, Jacques Mercatón, Juan Carlos Paz, Enrique Molinas, Vinicius de Moraes. The newspaper also contained illustrations by Luis Centurión, Leónidas Gambartes, Anselmo Píccoli and Raúl Lozza. There were six issues of "Contrapunto" until 1945. Another important step in Lozza’s avant-garde activity was his controversial relationship with the members of "Arturo" magazine. 

They were: Edgar Bayley, Arden Quin, Tomás Maldonado, Rhod  Rothfus and Gyula Kosice, with whom he  argued about the implications of abstraction and the paths towards non-representative art. 
In line with his convictions, Lozza abandoned his projects of illustrating the works by Apollinaire and Blaise Cendrars (he only made on drawing "El plan de la aguja"), and embarked on the preparation of his theory on the social function of artistic expression.
With the members of "Arturo" magazine he shared the need to break with the past. However, he was critical of the ambiguity of their proposals. 
Within the enriching atmosphere of controversy, coincidental with the new global moment that appeared after the fall of Nazism, the fracture of the heterogeneous group occurred. Some of the former members of "Contrapunto" and others from "Arturo" founded the Concrete-Invention Art Association in 1945. The single issue of the magazine "Arte Concreto-Invención"(view image), is published, which included the list of members of the Association in alphabetical order: Edgar Bayley, Antonio Caraduge, Simón Contreras, Manuel Espinosa, Alfredo Hlito, Enio Iommi, Obdulio Landi (actually Obdulio Lozza, Raúl Lozza’s bother), Raúl Lozza, Rembrandt V. D. Lozza, Tomás Maldonado (Edgar Bayley’s brother), Alberto Molemberg, Primaldo Mónaco, Oscar Nuñez, Lidy Prati, Jorge Souza y Matilde Werbin (actually Matilde Schmidberg, Raúl Lozza’s wife) who, as a pianist, made the works of Eric Satie known to the public. The administrative affairs of the Association were in charge of Manuel Espinosa, Raúl Lozza and Tomás Maldonado.
Unlike other avant-garde currents of the Forties, the Association developed the Cézanne-Cubism constructive line, and objected to the term "concrete" as used in Europe since the Thirties, considering that all of them practiced abstract art