10 teaching of art history and writing on the Philipine art scene. Paras-Perez had also set the standard in the practice of a professional printmaker—completing his edition or folio of prints that are numbered and destroying the original woodblock. As the artist selected by the Rockefeller Foundation to undergo workshop training at the Pratt Graphic Center in New York, Manuel Rodriguez, Sr. returned to the Philippines full of visionary zeal to introduce and propagate the art of fine print as a legitimate art form worthy of practice by a multitude of disciples and be created in multiples. Eventually the artists of the Art Association of the Philippines interested in printmaking and inspired by Rodriguez banded together to form the Philippine Association of Printmakers in 1968. After the pioneering work done by Manuel Rodriguez, Sr., Juvenal Sanso, and Rodolfo Paras-Perez, eminent art critic Leonidas Benesa cites Pandy Aviado as the most significant printmaker to emerge in the mid-1960s, “with his masterly etchings that appear to explore and express in graphic terms the nether regions of the psyche.” When asked why he became a printmaker, Pandy Aviado said that he found prints beautiful and the printing press an exciting challenge. The fervor for printmaking was also possibly the result from fortuitous encounters with various artists Pandy Aviado met during his college years and who had profound influence and inspiration in his artistic growth, each artist had a certain pioneering role in the visual arts scene at the time. Aviado first saw prints as a college student at the Ateneo de Manila University. He had shifted from Chemistry to Humanities and became a member of the Ateneo Arts Club, led by Fernando Zialcita and Luis Acosta. The young Aviado saw art films and attended exhibits and lectures by the leading artists in the 1960s—Arturo Luz, Fernando Zobel, Lee Aguinaldo, and Jose Joya. Aviado also enjoyed frequent visits to the Ateneo Art Gallery, where curator Emmanuel Torres was a friend. He was totally fascinated with the prints by European masters, part of the art collection that artist Fernando Zobel had given to Ateneo before he settled in Spain in 1960. As Aviado remembers his student days: “As a member of the Ateneo Arts Club (1963-1966), we had access to the Ateneo Art Gallery during school days. It was then located at the ground floor of the Bellarmine Hall. We spent most of our free time inside the air-conditioned Art Gallery office/stock room and go over all the art books we could lay our hands on. One particular collection I was totally crazy about was the Print Collection. I had a particularly nice feeling looking at a Goya, at a Picasso, a Rembrandt and at a Frasconi woodcut. As I had memorized most of them, the collection became my first real education on the art of printmaking.”