One of Aesthetic semiotics’ pioneer in Latin America was the philosopher, plastic artist and exemplary professor, the Argentinian Rosa María Ravera (Rosario 1932 - Rosario 2001). Contemporary with artist as Antonio Berni or Yuyo Noe, but also of Sandro Botticelli from whom she was separated by time and space, Ravera crossed her century with great elegance and a smile that did not hide a sharp and premonitory judgement on Argentine art and the development of Aesthetics, its discipline and its field of action. He introduced Aesthetic Semiotics as an academic discipline together with a generation that included Veron, Janello and Prieto. I will develop three aspects of this passionate relationship with Semiotics in the course of his life and his reflection on the contemporary art in the context of current criticism: the dialectic between edge and overflow, the overcoming of the problem of artistic representation and finally the irruption of a tertiary aesthetics inspires by Peirce. When Rosa María Ravera organised the first Latin American Colloquium on Aesthetics and Criticism in 1993, she already stated that the field of art was a continuous overflow, where the work of art is a trigger, a dialectic between order, harmony and regularity in the face of chaos, irregularity and contingency, the work is already conceived as having a heuristic value. The contemporary not only breaks with causality - of history, of representation - but also enables a multitude of forms and materials outside artistic practice: the blurring of an inside and an outside, the porosity of the limes.