Luis Felipe Noé

Luis Felipe Noé (born May 26, 1933) is an Argentine artist, writer, intellectual and teacher. He is known in is home country as Yuyo. In 1961 he formed Otra Figuración with three other Argentine artists. Their eponymous exhibition and subsequent work greatly influenced the Neofiguration movement. After the group disbanded, Noé relocated to New York City where he painted and showed assemblages that stretched the boundaries of the canvas.

In 1965 he published his groundbreaking theoretical work, Antiestética. He then took a ten-year hiatus from painting and upon return to Buenos Aires opened a bar, taught, wrote and created installations with mirrors. A military coup coincided with his painting comeback, and in 1976 Noé migrated to Paris where he continued to experiment, both with canvas re-texturing and the drawing process. His later paintings move away from the figure and focus on elements of landscape.

Informalism was the predominant movement in Argentina at the time, and Noé’s influences were the painters Sarah Grilo and José Antonio Fernández-Muro. Other acknowledged Argentine influences on both Noé and his fellow-artists who later comprised Otra Figuración, were the politically oriented neo-figurist Antonio Berni and the Boa group. The Europeans collectively known as Cobra, as well as Antonio Saura, Francis Bacon, Willem de Kooning and Jean Dubuffet may also have inspired the artists of Otra Figuración and are often referred to as comparable contemporaries in certain respects (de Kooning’s brushwork for instance), although they obviously differ in others.

Stylistic hallmarks of Otra Figuración’s version of Neofiguration are strong, vivid colors and spontaneous, slashing brushwork; fusion of fragmented and distorted figures with each other and animals; political content; extreme sense of kinesis and the appearance of anarchy on canvas. Structurally, the group made use of collage, mixed media, oversized canvases, and assemblages that gave many of the works a sculptural quality. Overall, the artwork managed to merge form, content, process and philosophy.

The philosophical platform of the group and its art are best expressed by Noé, “I believe in chaos as a value.” He doesn’t demonize chaos but acknowledges and accepts the reality of its inescapable existence. The group’s art reflects the political instability and uncertainty of life in Buenos Aires and also, in a larger sense, an awareness of the precarious situation of all human beings living in the incoherent modern world. Noé proposed that in such a world, chaos itself must become an organizing principle. Noé embraces both political and human chaos in his work, fearlessly entering the eye of the storm.

1951-1958 He entered the Faculty of Law of the University of Buenos Aires (UBA) and the painting workshop of the teacher Horacio Butler, where he trained for a year and a half. In 1955, he left the faculty and began to work in the newspaper El Mundo, where, the following year, exerted the critic of art. Until 1961, he also worked in the political section of the newspapers El Nacional, La Razón and La Prensa.

After the honeymoon trip with Nora Murphy to the Quebrada de Humahuaca, in 1957, she published in the magazine El Hogar an article written and drawn on her visual impressions of that landscape. It was his presentation as a cartoonist. That year, he exhibited a painting at the National Fine Arts Hall.

1959-1962 In 1959, he made his first solo exhibition at the Witcomb Gallery. During the inauguration, he became friends with Alberto Greco, Rómulo Macció and Jorge de la Vega.

In 1960, when his daughter Paula was born, his father offered him as a workshop a sector of what had been the hat factory founded by his grandfather, located on Independencia Street between Bolívar and Defensa. Soon, Greco and Macció settled there, taking advantage of the large space available, and De la Vega occasionally painted some large works in that place.

That year, Noé made two exhibitions, one at the Kalá gallery and another at the first two rooms of the Van Riel gallery. In 1961, the newspaper La Nación, in its rotogravure of Sundays, published a note on the atelier of Independencia and its protagonists.

In May of that year, Noé carried out his fourth show at the Bonino Gallery, where he presented the Federal Series, on the Argentine history of the nineteenth century.

Also in 1961, Noah proposed to his friends to make an exhibition that surpasses the division between abstract and figurative. The intention was not to form a group, but to create a movement. For this purpose, Macció, De la Vega and Noé invited Deira, as well as the figurative photographer and abstract painter Sameer Makarius and the painter Carolina Muchnik. Thus, in the Peuser Hall, the exhibition Another figuration took shape. But, at the same time, they had summoned several other artists, who preferred to abstain, some by abstract and others by figurative. However, shortly afterwards, they all made works linked to that pose, termed by some neofigurative critics or New Figuration. At the end of the exhibition, De la Vega and Noé (the latter, with a scholarship from the French government) set sail for Europe. Then, Nora Murphy and her daughter Paula traveled to Paris. Also, Macció and Deira.

There they became aware that the four were part of a group and that, in the future, would expose themselves with their own names: Deira, Macció, Noé and De la Vega, who was the last one because, he argued, his real name was “Vega” In alphabetical order, corresponded to that location.

1962 Noé ended his conception of divided picture or broken vision with his work Mambo, that at the moment forms part of the collection of Houston Museum of Fine Arts.

The four artists returned to Buenos Aires and settled in a new workshop, where Deira had already worked. It was located on Carlos Pellegrini Street between Charcas (today, Marcelo T. de Alvear) and Santa Fe Avenue. Shortly after, they prepared two exhibitions. The first one, drawing, took place in the Lirolay Gallery with the title “This,” referring to the Argentina they had found when they returned, after the fall of President Arturo Frondizi and the confrontation between blue and red military. The second exhibition was organized at the Bonino Gallery. Due to its repercussion, Alfredo Bonino, owner of the space, invited them to extend it, but the artists proposed to exhibit new works. Therefore, the sample had two stages. On the occasion, Jorge Romero Brest, director of the National Museum of Fine Arts, summoned them to exhibit at the institution the following year.

1963 This was a fundamental year for the group because, in addition to the exhibition in the Museum, they were invited to the Di Tella Prize: Macció received the International Prize and Noé was awarded the National Prize. For this reason, the Institute Di Tella acquired his work Introduction to Hope, donated later to the National Museum of Fine Arts. In addition, the four exhibited at the National Fine Arts Commission of Montevideo and the Bonino Gallery in Rio de Janeiro. On this exhibition, Brazilian critic Frederico Morais said that “it had an unforgettable impact on the young generation in Rio.”

At the end of the year, his son Gaspar was born.

1964-1965 The Di Tella Prize that Noah had obtained consisted of a scholarship to move wherever he wished. He chose New York, where he lived from April to December 1964, and shared a workshop with Liliana Porter, Uruguayan Luis Camnitzer and Venezuelan Gabriel Morera. He was invited to an international seminar of artists at the Fairleigh Dickinson Univertisty, New Jersey.

His stay in New York coincided with the Guggenheim International Award, which was held at that museum. The four artists had been invited by their curator, Lawrence Alloway. The award-winning artist was Alberto Giacometti. On that occasion, the American institution acquired the work of Noé Carisma (1963). At the Walker Art Center in Minneapolis, an exhibition of Argentine art was also held. New York Times critic John Canaday said: “A quarter of the exhibition – a high percentage – shows that in one respect, Argentina can find the national identity its artists are seeking. A new Argentine group, ‘the neofigurativos’, steal the sample.

1965 Edited by Van Riel Gallery, in 1965 Noé published his first book, Antiestética – in whose pages he presents his thesis on chaos as a structure – which was presented during the exhibition Noé + collective experiences in the Museum of Modern Art of Buenos Aires . In her, they were exhibited, besides a great chaotic installation called This is the life Miss and other pieces like Vernisage, works of Noé juxtaposed with other of different artists, that were united among them by opposition and contrast. Participated Enrique Barilari, Deira, De la Vega, Fernando Maza and Roberto Aizenberg. Also included was another large composite installation with the accumulation of singular works of the mentioned artists, plus Florencio Méndez Casariego, Ricardo Carreira, Miguel Dávila, Robert Jacoby, Estela Newbery, Pérez Celis, Pablo Suárez and Luis Wells.

The Bonino Gallery was the venue for the group’s last exhibition, in which Deira exhibited his large mural Nine variations for a well-stretched frame, while De la Vega and Noé showed installations: Necromancer, the first, and El nacional ser, la Of the second. Macció, who was in Europe, sent two large-format pictures.

At the end of this year, after receiving the Guggenheim Scholarship, Noah left with his family to New York.

1966 In January, he exhibited at the Bonino Gallery in New York. The exhibition included, among other pieces, three installations: the first one that it realized in that city, in 1964, titled Introduction to the desmadre; The one he had exhibited at the Museum of Modern Art, but with the translated title, That’s Life Miss, and a third, called Balance 1965-4 / 1965, which juxtaposed composite works during his previous stay in New York. After this exhibition, Noé stopped painting for nine years. On this decision, he later wrote: “Arriving at this limit, unbridgeable works, and feeling that I did not put fragments of reality since all the arts were united by my expressive load, I stopped painting to look for an environmental path that reflected objectively That chaos by means of flat concave mirrors. ” He made these mirrors in a workshop that he shared with De la Vega.

In May, he wrote for El Mirador, a publication of the Inter-American Foundation for the Arts, the article In pop society, the avant-garde is not in art galleries. At the end of the year, he again won the Guggenheim Scholarship.

1967 He began writing his book The Art Between Technology and Rebellion, which ended three years later, although he decided not to publish it: “Deep down, I doubted his most categorical conclusions. Above all, it was said that art dissolves in social life. ” However, he later used several of the analyzes included in that volume.

Antonio Berni exhibited in New York. During his stay, De la Vega and Noé frequented him daily. De la Vega returned to Buenos Aires.

For the second time, Noé participated as a guest of an international seminar of artists, convened by Fairleigh Dickinson University.

Later that year, he moved from Greenwich Village to 102 and Broadway, near the Hudson River. He traveled to the Venezuelan beach Azul to attend a meeting of artists and intellectuals from the United States and Latin America organized by the Inter-American Foundation for the Arts.

Already without a scholarship, but with a residence permit for a further twelve months, he obtained an endorsement from the New York School for Social Research and began working on a program called the “War on Poverty” – which had begun John F. Kennedy – as Director of a Hispanic Cultural Center located in a mainly Puerto Rican neighborhood. This institution was promoted by Movilization for Youth, where Nora Murphy was a social worker.

1968 In May, he exhibited an ambience with flat concave mirrors at the Museo de Bellas Artes in Caracas. There he learned of the events taking place in Paris. In October, it returned to Buenos Aires, but before it got rid of all the facilities, given the complexity to transport them. It only lasts, with some replaced pieces, the national being, of 1965, because it had not been transferred to the United States.

He received an honorable mention at the International Engraving Biennial in Tokyo, Japan.

1969 Noé proposed to a group of people the putting into operation of a bar, which was decorated with furniture of restaurants and closed businesses. De la Vega suggested his name: Barbarian. It opened on October 5, exactly ten years after its first exhibition. Pioneer of the later development of Reconquista Street, this bar was the meeting place of the cultural protagonists of the decades of the 60, 70 and 80. Noé was linked to him for thirty years.

Simultaneously with the inauguration of the Barbarian, he held the exhibition Baldos-Liquidación by branch change, with paintings from the period 1960-1965.

1971-1973 He published a book of phrases about Argentina, an advanced colonial society, which had begun in New York. He also opened a restaurant in front of the Barbarian, La Jamonería de Vieytes, which only worked for a year.

Although initially faced his period without painting with joy, convinced that the artistic activity was dissolved in the social life, in 1971 perceived that it was wrong. This prompted him to perform a therapy with Dr. Gilberto Simoes. In his sessions, as he spoke, he drew. He began thus, drawing, his way back to the painting, which materialized four years later. However, in 1971, he organized the exhibition “The pleasure of painting”, with the idea of ​​highlighting the most permanent aspects of the discipline through the centuries – not the eternity of the work and its transcendence, but merely the pleasure of painting – . For the occasion, he wrote: “As at present the creative adventure is made more collective, this exhibition aims to highlight the pleasure of painting together.”

That year, Jorge de la Vega passed away, a fact that produced in Noé a great impact.

In the Institute of Art of the University of Chile, he made a banners exhibition with phrases whose general title was The Art of Latin America is the revolution.

The partners of the Barbarian were several and the profits had to be divided. Noah decided on a new adventure: to teach painting. He did it between 1971 and 1973 at the Pan American School of Art.

In 1972, he traveled to Chile and, the following year, to Cuba to participate in artists’ congresses.

In 1973, he was appointed interventor of the career of History of Art in the Faculty of Philosophy and Letters, a function he held for a year.

Between 1973 and 1976, he dedicated himself to teaching in his new workshop house, located at the corner of Pueyrredón and Corrientes avenues.

1974 Ediciones de la Flor, from Buenos Aires, published a novel written and drawn by Noah called Codex Puzzle on Recontrapoder in Cajón Desastre.

1975 Returned to the painting with an exhibition in the gallery Carmen Waugh, where it showed two series: Nature and the myths and Conquest and violation of the nature. For the catalog, he wrote a text entitled Why I painted what I painted, I did not paint what I did not paint, and I paint now what I paint.

1976-1987 After the coup d’état of 1976, in late May Noé left for Paris. However, in September, he sent from the French capital works for a new exhibition at the Carmen Waugh Gallery. The centerpiece of the exhibition was three large format paintings titled This has no name (which did not mean “without title”, but alluded to the situation that was lived in Argentina at that time).

1977-1979 In January of 1977, Noé met with his family. He resumed teaching painting in his department-workshop and in Peuple et Culture, an organization that formed sociocultural animators. In that period, he held two individual exhibitions in Paris (Maitre Albert gallery in 1977 and L’Oeil Gallery in Boeuf, 1978), one in Madrid (Durba Gallery in 1978), another in New York and three in Buenos Aires ( Gallery Balmaceda, in 1977, and Arte Múltiple, in 1978 and 1979), city to which he traveled once a year from 1978.

1980-1985 Road to Paris, he spent three weeks in the Amazon invited by his friend, the Brazilian poet Thiago de Melo. He started a series inspired by this landscape, which ended in 1985. However, during this stage, he also composed nostalgic works of the games he made in his period of the facilities mentioned, but this time, trying to keep them. The most characteristic work of that time was composed in 1982, in the studio that Porter occupied in New York, when Noé had traveled to exhibit at the New York Studio School. It is Structure for a landscape, in which he bets to join his two searches of the moment (the installations and the rhythm of the landscape).

That year, he had traveled to Mexico City to participate in a meeting of visual arts about identity in Latin America organized by the Forum of Contemporary Art. There, he presented a long text called “The nostalgia for history in the process of plastic imagination of Latin America”.

In 1981, his mother died and, in 1983, his father. During that year, he acquired his home on Tacuarí Street, where he lived since 1987. During this period, he exhibited in Paris (Espace Latinoamerica in 1981 and Gallerie Bellechase in 1984) in Buenos Aires (Art galleries Nuevo and Alberto Elía, both in 1981, Ruth Benzacar, 1985, and in the Provincial Museum of Fine Arts Rosa Galisteo de Rodríguez, Santa Fe).

1986 Won the Fortabat Foundation prize with the work Remembrance of the Flood. While in Buenos Aires, his great friend Ernesto Deira died in Paris, with whom he had lived for several years in that city.

1987 Returned to Buenos Aires definitively. Organized a selection of his work in the Museum of Plastic Arts Eduardo Sívori and, simultaneously, in the gallery Ruth Benzacar. In addition, it realized a quadríptico installed like mural for the Museum of San Ignacio Miní in Misiones.

1988 The company Alba published a book on the work of Noah written by Mercedes Casanegra.

He exhibited at the Gooijer Fine Art Galerie, in Amsterdam, Holland, and at the Galería Arte Actual in Santiago de Chile.

1989 He showed his works at the Museum of Modern Art in Bogotá, Colombia; At the Camino Brent Gallery in Lima, Peru; In the gallery Ruth Benzacar, in Buenos Aires, and in his stand of the Arc Fair, of Madrid, Spain.

1990 He held four exhibitions: gallery Jaime Conci, from Córdoba, Argentina; Gallery Expressions, from Guayaquil, Ecuador; Center of Visual Arts Museum of Contemporary Art, Asunción, Paraguay, and at the Casa del Ángel, Buenos Aires, Argentina.

1991 Again, he exhibited his works in Bogotá (Diners Gallery), Santiago de Chile (Galería Plástica Nueva) and Guayaquil (Galería Expresiones). In Buenos Aires, the exhibition Deira, Macció, Noé, de la Vega, 1961. New Figuration 1991 in the Cultural Center Recoleta.

1992 With the series Hieroglyphs of the Caverns of Buenos Aires, began a succession of homonymous expositions. He published his written and drawn portfolio on the discovery of America, A Oriente por Occidente (Ediciones Dos, Bogotá, Colombia). He also exhibited at the Museum of Modern Art in Cuenca, Ecuador, and at the Cultural Center of the National University of Tucumán.

1993 At the Center for Art and Communications (CAyC), led by Jorge Glusberg, carried out the show Conceptual reading of a trajectory. On the occasion, a small book with that title, written by Glusberg and Noé, was published.

Exhibited again in the Gallery Expressions of Guayaquil.

1994 Presented Institutional Institution, after 28 years without installations, in an exhibition dedicated to the theme organized by the National Museum of Fine Arts, curated by Jorge Glusberg. Currently, this work integrates the heritage of the Museum of Modern Art of Buenos Aires. He illustrated a book of phrases by different authors about the love relationships between men and women entitled The Other, the Other and Otherness, edited by IMPSAT as a business gift.

He exhibited at the Teatro Auditorium in Mar del Plata and received the Diploma of Merit from the Konex Foundation, in the category of Argentine Art Essay.

1995-1996 He made two retrospectives. The first, in the National Museum of Fine Arts, in 1995; And the second, in the National Palace of Fine Arts of Mexico DF, in 1996.

He exhibited in 1995 at La Galería, Guayaquil, Ecuador, and at the Municipal Museum of Visual Arts in Santa Fe.

1997 Simultaneously presented at the Borges Cultural Center and the Rubbers Gallery a series entitled Errors, omissions and other deproblivities. This experience was exhibited in Pinamar and Mar del Plata, and in the Provincial Museum Emilio A. Caraffa, Córdoba, the following year.

In recognition of his career, he won the Grand Prize of the National Fund for the Arts.

1998 He was guest of honor in the Visual Arts Hall of Santa Fe.

He held the exhibitions Noé, in the Museum of Contemporary Art of Bahía Blanca, and Paintings 1995-1998, in the Municipal Museum of Modern Art of Mendoza.

1999 In the Cultural Center Borges, with the support of the National Fund of the Arts and the Antorchas Foundation, organized the Ojo al País, with the objective of exposing artists from the Argentine provinces. This enterprise continued until 2002, and thirty samples were made. In 1999, he participated in the Recoleta Cultural Center of the collective exhibition Identidad, with the sponsorship of the Grandmothers Association of Plaza de Mayo; Along with other colleagues, began his participation in the group Artistas Plásticos Solidarios.

Memories of the deluge during times of discount could be traced at the Rubbers Gallery in Buenos Aires. With Jorge Demirjian and Carlos Gorriarena, he exhibited at the Bryggens Museum in Bergen, Norway.

2000 From this year, at the Rubbers Gallery, he organized exhibitions with titles that identify the series: Human Landscapes (2001), Descalabros varios (2002), Crusades (2003), Cross-dispersed Dispersions (2004), Emergencias (2005), ¿ What? (2006), Noemas or Noesis? (2008), However, (2011).

The publishing house Adriana Hidalgo published The art in question, a book of conversations between the conceptual artist Horacio Zabala and Noé. At the International Biennial of Art held at the National Museum of Fine Arts, received the award corresponding to Argentina for its installation Reflections with text and out of context.

He was part of Heterotopies. Half a century without place, 1918-1968, organized in the National Museum of Art Reina Sofía, Madrid.

2001 Received the Rosario 2000 Prize, from the Municipal Museum of Fine Arts Juan B. Castagnino.

2002 He won the First Painting Prize at the Manuel Belgrano Hall and, for his career, was honored with the Konex Prize for Brilliant Visual Arts. He also won the 53rd Michetti-La città and le nuvole Award. Italy-Argentina, Michetti Museum, Francavilla al Mare (Italy).

2005 He was curator of the exhibition Painting without painting, which took place at the Cultural Center of Spain in Buenos Aires.

The poetry magazine Malvario edited the Wittgenstein notebook: this is the case based on a discourse of Noé written in the year 2000.

2006 He was declared an Illustrious Citizen by the Legislature of the City of Buenos Aires, a title he received the following year.

Between 2006 and 2014, along with Eduardo Stupía, directed a project dedicated to the drawing called the line thinks in the Cultural Center Borges, where they realized more than one hundred exhibitions. He exhibited at the Municipal Museum of Fine Arts Genaro Pérez, Córdoba.

2007 The publishing house Adriana Hidalgo published his book Noescrito about that which is called art, which brings together essays produced over forty years. For this book, he received the Miguel Briante Critics Award from the Argentine and International Association of Art Critics.

2008 The Argentine Chancellery and curator Fabián Lebenglik elected him to represent Argentina at the 53rd Venice Biennale.

2009 Participated in the Venice Biennale on behalf of the country. The works made for that occasion – The static speed and We are understanding, reunited under the name Red – were exhibited that year in the National Museum of Fine Arts.

He obtained the Tribute Prize from the Central Bank, and the National University of Quilmes published the book In the Name of Noah, written by Noah Jitrik and illustrated by Louis Philippe Noah. In addition, he made a synthetic panoramic exhibition at the Rubbers Gallery at the 50th anniversary of his first exhibition. For this reason, the 50 x 50 catalog was published, which included fifty works created during fifty years.

He received the Tribute Award from the Central Bank of the Argentine Republic.

2010 He toured the country with the RED exhibition, which could be seen at the Museo Castagnino + macro, in Rosario; At the Museo Provincial de Bellas Artes Emilio Caraffa, in Córdoba, and at the José Amadeo Conte Grand Cultural Center in San Juan.

At the Museum of Modern Art in Rio de Janeiro, a retrospective on Noé was conducted by Franklin Pedroso. In parallel, the National Museum of Fine Arts organized a show in homage to the group of the New Figuration, by Mercedes Casanegra.

2011 With Stupía, Noé made the exhibition of drawings “four hands” You ruined the drawing, which toured different Argentine provinces. Also, with the title of However, he showed his work in the Rubbers Gallery.

2012 His partner, Nora Murphy, passed away.

He made two individual exhibitions: Noé, visions and re-visions, at the National University of Tres de Febrero, and consequently at the Rubbers Gallery.

2013 He was guest of honor of the XX International Biennial of Curitiba.

With his children Paula and Gaspar, he made the exhibition NOE 3D, in tribute to his wife.

2014 He made a series of exhibitions titled Noé Siglo XXI, dedicated to his works composed in that century. Two were organized in Brazil (Brazilian Sculpture Museum in San Pablo and National Museum of the Republic in Brasilia), one in Buenos Aires (Fortabat Foundation) and one in Uruguay (Union Foundation, Montevideo) during 2015.

2015 The exhibition dedicated to his political work, Olfato in time and place, was held in the Cultural Center of Memory Haroldo Conti, Buenos Aires.

He published his book Mi viaje-Cuaderno de Bitácora by the publisher El Ateneo, which consists of two volumes: the first, Mi viaje, is a photographic tour of his work, and the second, Logbook, offers a chronological account of his career Artistic and biographical.

2016 He exhibited in Argentina (Rubbers Gallery, Buenos Aires) and Uruguay (South Gallery, Punta del Este).

2017 In the La Tribu space, the sample Memoria del presente was organized, combining works by Noé with texts by Vicente Zito Lema.

Malba-Costantini Foundation, Buenos Aires; Museum of Modern Art, Buenos Aires; Eduardo Sívori Plastic Arts Museum, Buenos Aires; National Museum of Fine Arts, Buenos Aires; National Museum of Fine Arts of Neuquén; Franklin Rawson Provincial Museum of Fine Arts, San Juan; Museo Municipal de Bellas Artes Juan Sánchez, General Roca, Río Negro; Museum of Art and Memory, Buenos Aires; Bicentennial Museum, Buenos Aires; Municipal Museum of Fine Arts of Tandil, Buenos Aires; Museum of Fine Arts of Salta; Museum of Art of Tigre, Buenos Aires; Museo Castagnino + macro, Rosario, Santa Fe; Provincial Museum of Fine Arts Rosa Galisteo de Rodríguez, Santa Fe; Amalia Lacroze Art Collection of Fortabat, Buenos Aires; Municipal Museum of Fine Arts Genaro Pérez, Córdoba; Provincial Museum of Fine Arts Emilio Caraffa, Córdoba; Museo Superior de Bellas Artes Evita-Palacio Ferreyra, Córdoba; Center of Interpretation of the Jesuit Mission of San Ignacio Miní, Misiones; Cultural Center of the Floreal Gorini Cooperation, Buenos Aires; National Fund for the Arts, Buenos Aires; Federico Jorge Klemm Foundation, Buenos Aires; Pedro de Elizalde General Children’s Hospital, Buenos Aires; Ministry of Foreign Affairs and Worship of Argentina, Buenos Aires; Metrovías, Buenos Aires; J. P. Morgan Chase, Buenos Aires.

Blanton Museum of Art, University of Texas at Austin, United States; Metropolitan Museum of Art, New York, United States; Museum of Fine Arts, Houston, USA; Solomon R. Guggenheim Museum, New York, United States; Rhode Island School of Design-Museum, United States; Museum of Contemporary Art of the newspaper El País, Montevideo, Uruguay; Museum of Fine Arts, Managua, Nicaragua; Salvador Allende Solidarity Museum, Santiago, Chile; Museum of Fine Arts of Caracas, Venezuela; Museum of Modern Art, Cuenca, Ecuador; Rayo Museum of Latin American Drawing and Engraving, Roldanillo, Colombia; Museum of Modern Art, Rio de Janeiro, Brazil; Parliament of the Eastern Republic of Uruguay, Montevideo. Banco Bozano Simonsen, Rio de Janeiro, Brazil; West Merchant Bank, London, England; West Merchant Bank, Düsseldorf, Germany.

Noé was honored with a retrospective in 1995/1996 at the Museo Nacional de Bellas Artes in Buenos Aires and the Palacio de Bellas Artes in Mexico City.

In 2002 Konex Foundation from Argentina, granted him the Diamond Konex Award for Visual Arts as the most important artist in the last decade in his country. In 2003, he collaborated with Nahuel Rando on the graphic novel, Las aventuras de Recontrapoder, re-imagining his anti-hero for a new generation.