The theorist of the “irregular frame,” Rhod Rothfuss pushed the boundaries of Constructivism in his mature style by incorporating geometric and irregular shapes in his brightly colored artworks. Born Carlos María Rothfuss, he studied art in Montevideo before moving to Buenos Aires in 1942. There he joined the group that published the single-issue magazine Arturo, including Argentinian designer Tomás Maldonado (b. 1922), Uruguayan artist Carmelo Arden Quin (1913–2010), and Slovak-born painter Gyula Kosice (1924–2016). The magazine published artworks and manifestos by artists who favored geometric abstraction over traditional figurative and symbolic painting. In an article published in Arturo, Rothfuss argued that shaped frames were necessary for self-reflexivity in painting. In 1945 he participated in the first exhibition of the Asociación Arte-Concreto-Invención (Association of Concrete Art-Invention). With Quin and Kosice he formed Madí, a splinter group that advocated for a universal Concrete art incorporating music and other forms. The group published a journal from 1947 to 1954. Rothfuss participated in the most important exhibitions of Madí art locally and internationally beginning in 1947. His work represented Argentina in the first Salon des réalités nouvelles (Exhibition of New Realities) at the Musée d’art moderne de la Ville de Paris (Modern Art Museum of the City of Paris) in 1948.