Tapestry by Edgardo Giménez, “León”, Argentina, 1967

He took part in the Visual Experiences 67 at the Instituto Torcuato Di Tella (ITDT). Since 1967 he made sets for different shows and productions. In cinema he participated in the films of Héctor Olivera Psexoanálisis (1967), and Los neuróticos (1968, for which he received an award from the Association of Cinematographic Chroniclers in 1973). For ITDT he made, in 1969, the scenography of Orquídeas para Tina muerta.

In 1970, together with Marta and Jorge Romero Brest and Raquel Edelman, founded Fuera de Caja-Centro de Arte para Consumir (Promenade Alvear Gallery): his designs included earthenware, ceramic, wood, glass, and stationery objects. He also worked for American Porcelain and Alpargatas. The same year he designed the interiors of the Romero Brest and Federico Klemm apartments.

Since 1971 he directed different architectural projects in the province of Buenos Aires: the first was the Romero Brest house in City Bell, followed by La casa colorada (1976), La casa amarillo (1982) and La casa blanca (1983), in the town of Punta Indio. In 1973, with the support of the FNA, he installed his workshop-studio. His work in graphic design was recognized once again in 1977, when he won the First Prize at the Ibero-American Festival of Advertising. A year later, the house project for Romero Brest was part of the MoMA Transformations in Modem Architecture show.

Between 1980 and 1982 he worked as designer of the graphic image of the San Martín Theater. For his work at that institution, he received the Validity Award (1982). A year later the Teatro Colón commissioned him to create the new graphic and institutional image of it.

In 1987 he had his first retrospective at the MAM; he exhibited painting, sculpture, design and architecture. That same year he participated in The Most Beautiful Posters in the World, a UNESCO exhibition at the Grand Palais in Paris.

Since the mid-1990s, his work was present in most of the anthological exhibitions on the 1960s in our country. In 1997, the National Museum of Fine Arts of Buenos Aires (MNBA) organized a retrospective of his work and distinguished him with the Leonardo Prize. Two years later he received a mention from the jury at the Costantini Prize. Also at the MNBA (2000) he showed recent work on the occasion of the presentation of a book dedicated to his career published by the Fortabat Foundation. For the Secretary of Culture of the City Government, he directed the area of visual communication on public roads during 2000-2004 and 2006-2007.

In 2004, his works Cupido (1964) and La araña blanca (1972-1997) entered the Collection of the National Museum of Fine Arts, 20th and 21st century Art section, donated by the artist.
In 2008 he made the exhibition Arte y calles, a communication experience at Fundación Centro Cultural Altos de Chavón, Dominican Republic. The following year he participated in a collective exhibition of sculptures within the framework of the XII International Architecture Biennial, at the Recoleta Cultural Center; and he made the installation Esta noche no, together with Diego Figueroa, at the Cultural Center of Spain in Buenos Aires. During ArteBA 2010 with the sponsorship of Patio Bullrich, he reconstructed the installation made in 1967 for the film Psexoanálisis, by Héctor Olivera. That same year he did his solo show Boomerang, at Braga Menéndez Arte Contemporáneo; he was invited to the sculpture sector of Expotrastiendas, in La Rural; and he was part of the great anthological exhibition Pop, realismos y política, at OSDE Foundation.
In 2012 he carried out the mega-installation Fiesta en el cielo at the Borges Cultural Center; and participated in the exhibition Pop, realismos y política, which was shown at Fundación Proa (Buenos Aires) and the Oscar Niemeyer Museum (Curitiba, Brazil), and toured during 2013 at the GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo (Italia) and the Museu de Arte Moderna do Rio de Janeiro (Brazil).
Edgardo Giménez lives and works in Buenos Aires.