The new proposal put forward the idea of avoiding all illusionist representation. As a result of this, the first historical avant-garde movement began characterized by the determination of artistic renovation closely linked to a project of change in the social and political structure. 
On March 18th, 1946 the First Concrete-Invention Art Exhibition was inaugurated in the Salón Peuser in Buenos Aires. In the catalog of this exhibition, they published the Manifest which states: "The artistic age of representative fiction has come to an end. Scientific aesthetic will replace millenary, speculative and idealistic aesthetics". 
After the members of the Association had undergone an enriching experience for a period of two years, in the conquest of a physical niche for Painting, and because they had failed to annul illusionism in that aspect, at the beginning of 1947, Raúl Lozza left the Association and decided to continue his own experiences. This decision coincided with his separation from Matilde Schmidberg (view image), who 

would later become Edgar Bayley’s partner. Raúl Lozza  followed suit, and married Antonia Belizán (view image), his wife for the rest of his life. After a brief stay in Los Juríes Hills, Santiago del Estero,  accompanied by his son Arturo, Raúl Lozza enthusiastically embarked on the research into what would further be a fundamental change in the traditional painting system: he created a new conceptual and practical method for bi-dimensional arts. He achieved to elaborate an open and integrating structure, the creator of the specific shape; he introduced the notion of colored field replacing the concept of "background" and created a new theory of color on the basis of discontinuity and relative potentiality. He also eliminated "harmonies" and "complementarisms" so traditional in the pictorial sense and in colors. He left aside geometry as he considered it inoperative to achieve the proposed objectives and resorted to numbers only as a tool following the creative art. In this regard, he created the notion of "qualimetry" of the plane shape, whose formula establishes mathematically that the addition of the parts is more than the whole (two plus two is more than four). 
As from 1947, he developed a closed friendship with the critic Abraham Haber and, together with his brother, Rémbrandt Lozza, they formed the tercet that would lead to the publication of the magazine "Perceptismo"(view image), where all his research and theories of concrete art, called "Perceptivism", are included. Some years later, Lozza would use the term "concrete" for his paintings. 
Abran Haber wrote "Raúl Lozza and Perceptivism", whose content led to deep theoretical deductions between the author and Lozza. Rembrandt painted his single "concrete" work and contributed with his writings to the magazine "Perceptismo". Not for a moment would he give up his bohemian life. On October 31st, 1949 Raúl Lozza opened his Perceptist Art Exhibition in Van Riel Art Gallery,