Otra Figuración mirrored the objective of Phases in its desire to branch away from both geometric abstractionism and social realism, calling artists to engage with society, but also to transcend political issues rather than pick sides. In fact, Noé cites Boa, an Argentine strand of Phases, as the most significant influence in the ideology of Otra Figuración. Around this same time, Macció’s work became more spontaneous and expressive, signifying his transition into Neogfiguration and Otra Figuración. Jorge de la Vega, coming from a background of architecture and abstraction, took the longest of the group before shifting into a more expressionistic style of painting. His shift to include figures can be seen in 1959, with works such as "Los Náufragos" in which eyes and mouths can be identified among the complex, flowing lines. He also created collages to incorporate the figure, such as "Danza de montaña" in 1963. This work is composed of rags glued together to form an intense and even violent subject, equaled in intensity by the physical texture of the piece. Noé specifically noted de la Vega for his “darker… more textured” style which was “executed with free, lyrical gestures.” Ernesto Deira was the last to be introduced to Noé by Macció in 1960. Deira was a lawyer who had also studied painting and came to the group already a strong figural artist. In expressing a common commitment to the expressionistic use of the figure, Deira became the fourth member of Otra Figuración. Deira’s style was significantly influenced by Francisco Goya’s Black Paintings, but with freer brushwork. These four artists worked together under the name Otra Figuración from 1961-1965, based in an old hat factory which was given to Noé by his father and served as a studio space. Otra Figuración exhibited several times together between 1961-1965. Their first group exhibition, simply titled "Otra Figuración", was held in Buenos Aires in 1961 and was well-received, yet also recognized as innovative and new. Over their years together, the group won various prizes and participated in international exhibitions in Paris, New York, and a several other cities across the United States. They received some criticism for their ground-breaking development of Neofiguration and their rejection of established art norms, but they generally maintained institutional support.