1926

He became editor of the periodical Arquitectura through his friend, the architect Bernardo Giner. Under his direction, the periodical became the platform for young Spanish architects and disseminated the newest tendencies in architecture internationally. The relationship between Moreno Villa and the avant-garde Spanish architects was very close and friendly, and awoke in him a genuine interest in the problems posed by the new architecture and their solutions. He published five drawings, accompanied by his poems, of his series Schola Cordis in the second issue of the periodical Litoral (Malaga), and his Catálogo de los dibujos del Instituto de Gijón. Colección Ceán Jovellanos, an important work as a model for cataloging, and an essential book since the valuable collection of drawings housed in the Instituto de Gijón was destroyed during the Civil War.

He also published a significant article, Artistas y mercaderes, in which he denounced the absence of a true modern art market in Spain, and hence, the non-existence of the dealer, an essential figure in the international art world. He began his series of articles entitled Superficial studies  (El Sol), which he would continue publishing until 1931, and where he explored the many problems associated with modern urban planning, new construction, changing habits, the new ways for painting, and its main actors.

He met a young American student and they began an intense love relationship in late August.