where two of his most important murals, No. 161 and 163, were exhibited.  At that time, Raúl Lozza began to reveal his creative method not only in his native land but also abroad, through more than sixty lectures and hundreds of publications.  In this respect, Lozza became the plastic artist who, so far, has left the largest number of writings on the evolution of painting from abstract to concrete art. 
To this prolific activity he added his active participation in the Communist Party as a member of its Cultural Committee, and in several intersociety associations in their struggle against censorship and for the defense of the national patrimony. 
In 1953 Carlos Raúl, his second son, was born, and years later Lozza inherited a spacious house situated at 1717 Humberto 1º Street in the City of Buenos Aires, where he opened his workshop. There, in 1960, he inaugurated the historical Non Figurative Art Exhibition, which mustered all the trends of this art expression. 

That same year he was elected executive member of the Argentine Society of Plastic Artists (SAAP) together with Carlos de la Cárcova and Luis Seoane. He was later appointed first, general secretary, and then president. During his office, the SAAP regrouped painters of all trends, organized  exhibitions and publicized the works of young generations. This relationship and mutual admiration between the mature artist so knowledgeable in theoretical matters and the zealous, young generations full of interests would continue to exist until the artist’s demise. In the final moments of his life, Raúl Lozza would claim: "If I do not teach, how can I learn?"
In 1962 he traveled to Chile for an exhibition, and in 1965 he showed his work in the Modern Art Museum in Río de Janeiro. 
Years later, he attended Juan Carlos Castagnino’s funeral and, much later, he would pay his last respects to Antonio Berni. In 1974 he traveled to Europe and opened a gallery in Dresden, where his works were on display.
Prior to the military coup of 1976 he was the target of numerous death threats issued by paramilitary groups for his participation in antifascist movements and against censorship. 
But Raúl Lozza was always to his principles, his political ideals, and to concrete art. His rebelliousness towards the academic and reiterative forms had been fiercely mocked and rejected. He had been a transgressor of the plastic arts and he would continue to be one. That is exactly what many people never accepted. In reply to this, Lozza would coin the following quotation: "The best way to move towards reality is to swim against the tide of commonplace occurrences". 
If in the decade of the Forties he was reviled for his violation of the traditional rules of painting, as from the Nineties, he would gain recognition within his country and overseas