Gustavo E. Raynal born in Buenos Aires, Argentina.

Tucuman Arde artists set fire to their own work in protest of censorship of one of their own by conservative curator and institution.

De Soto “Plastico” Madero born in Santa Cruz, Argentina.

Guillermo Carnevale born in Rosaria, Argentina.

Eugenia Paz born in Medellín, Colombia.

Raynal expelled from classes at CalArts in Valencia, California after one year of study after fist fight with professor of class on minimalism.

“Plastico” Madero begins to transition from being a woman to becoming a metrosexual man; organizes series of shows on the illusion of choice.

El Vaquero thrown from a car in the province of La Pampa. While laying in a road side ditch for three days, he has an artistic epiphany about the relationship between creativity and violence.

Guillermo Carnevale drops out of law school after one year of study.

“Plastico” Madero attends  art school for three months in Austin, Texas before transferring to art school in Barcelona, Spain. After studying there for two, he transferred to art school in Berlin, where he dropped out after four months.
“Plastico Madero attends and drops of art school in New York at School of Visual Arts in New York, New York after only one month. Begins attending CalArts in September,  and graduates top of his class in one year.

Raynal and Carnevale meet while painting houses in Tigre, a suburb fifty miles outside of Buenos Aires.

Paz graduates with joint degree from Goldsmiths College, Department of Art and London School of Economics and Political Science.

Raynal and Carnevale begin collaborating on projects, each of the projects implicitly seeking the approval of the art world establishment.

El Vaquero enters Ruth Benzacar Gallery during an opening and spray paints the phrase “ACCOUNTABILITY UNDERMINES CREATIVITY” on two large Guillermo Kiutca canvases.

El Vaquero continues to organize small-scale, violent interventions at commercial galleries throughout Buenos Aires, which are dubbed Uprisings by a crime-beat reporter for a local newspaper Info Azul Diario.

Paz organizes show of prints consisting of flowcharts of reconciliation process patterns in East Africa at a local project space in Retiro District.

“Plastico” Madero moves to Buenos Aires to work for Argentine artist Roberto Jacoby, and quits after six months.

Raynal and Carnevale organize first series of visceral realist Uprisings; participants tear over-priced paintings down off walls of blue-chip commercial galleries, and place them on ground upside-down.

Raynal, Carnevale, and “Plastico” Madero organize first series of Dark Heart Seminars in lobby of abandoned luxury hotel in the Retiro Distict; In two months, 200 artists attend the workshops.

Carnevale meets Paz at a weekday Dark Heart Seminar, and invites Paz to join.

Carnevale suffers serious injury at a Dark Heart Seminar when lobby chandelier collapses.

Vaquero causes major controversy when he executes an Uprising action known as Estafado, or Strong-Arm for the first time; he and an accomplice enter a collector’s home, threaten collector with weapon, and force collector to purchase a drawing.

Argentine police begin investigation of the visceral realists group.

Raynal drafts the visceral realist manifesto: Towards a Theory of Institutional Rupture on a Smith and Corona typewriter at a local bar in the Retiro District of Buenos Aires.
Carnevale has major back and hip surgery; meets “Plastico” Madero at hospital where Madero is undergoing hormone therapy. Carnevale invites “Plastico” Madero to assist in the publication of a planned  visceral realist publication.

Carnevale and “Plastico” Madero publish first issue of  Journal of Implied Violence;

Raynal, and “Plastico” Madero  execute the first Overthrow action, an Uprising intervention where the artist organizes a two-day  blockade of a board of director’s meeting for the Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires (MALBA). Two board members, including and three artists are injured and taken to local hospitals.  Overthrow  action leads to major coverage in the newspaper El Cronista on the ethics of acquisition and de-accession practices of MALBA.

“Plastico” Madero exhibition entitled “Will two prisoners cooperate and
remain silent, or will both of them betray to lessen their own terms, ending up with longer ones?” opens at the Centre d’Art Contemporain Geneve, and explores the intersection between art and politics

Carnevale curates White Noise- The Fog of Information at the project space Belleza y Felicidad in Buenos Aires, Argentina. White Noise presents work which investigates the manufacture of misinformation.

Argentine economy begins to show signs of impending collapse; Argentine GDP drops 4% and unemployment rises sharply, while Argentine peso currency stagnates.

Raynal obtains six week residency at UNAM, where he joins local environmental activists to choreograph the sale of a sculpture made entirely of campus waste to UNAM administration for installation on the UNAM campus.

Visceral Realist recruitment protocol memorandum circulated.

Raynal travels to São Paulo and plays a pivotal role in the cancellation of the São Paulo Biennale.

Paz and “Plastico” Madero curate the exhibition I Want Everything for Nothing Now: The Perils of Maximization at Belleza y Felicidad, Buenos Aires, Argentina.

El Vaquero exhibition God is Dead and the Curator Follows at MACBA; action generates significant controversy and litigation; El Vaquero fails to appear at a hearing before a Spanish court of law.

Bench warrants issued for El Vaquero’s arrest in Barcelona, Spain.

Raynal disavows and condemns El Vaquero action.

Visceral realists invited to participate in survey of their work titled On the Aesthetics of Rapture and Rupture at Centro Cultural España, Buenos Aires (CCEBA). Exhibition is cancelled after Raynal is caught on security cameras while vandalizing work at CCEBA.

“Plastico” Madero invents role-play card game based on Uprising actions, the goal of which is to generate controversy and critique of corporate art world institutions.

Disaster Design, a major survey of Visceral Realist work, is scheduled to open at Fundación Telefónica. On the eve of the opening, Raynal, Carnevale and “Plastico” Madero organize a disorderly  blockade of a Fundación Telefónica board of director’s meeting; The Disaster Design exhibition is promptly  cancelled.

Amid controversy, a Visceral Realist retrospective at the Museo Nacional de Bellas Artes in Buenos Aires is announced to open in Fall 2002.

Argentine economic collapse, government enacts a series of measures, known as “corralitos,” which freeze all bank accounts and assets, allowing only minor sums of money to be withdrawn at any time.

El Vaquero surfaces in Buenos Aires. Raynal files two police reports that El Vaquero is stalking and threatening him.

Violent protests over economic crisis break out in Plaza del Mayo.

Amid riots, Argentine President Fernando de la Rua resigns.

Argentine government defaults on $93 billion international debt payment.

“Plastico” Madero checked in to local hospital with serious injuries sustained from a large steel spring-loaded bear trap. “Plastico”  Madero checks out two hours later, against physician’s advice.

Argentine police receives missing person reports from family members and friends of all four leading visceral realists.

New York Times reports the disappearance of all of the Visceral Realists on the eve of a major retrospective at Museo Nacional de Bellas Arte in Buenos Aires.

“Will two prisoners cooperate and remain silent, or will both of them betray to lessen their own terms, ending up with longer ones?” opens at the Centre d’Art Contemporain Geneve, and explores the intersection between art and politics