Artist and art critic Alejandro Otero [Rodríguez] offers examples that support this first response to the texts published by Miguel Otero Silva (under the title “Conceptos concretos sobre el arte abstracto” [Specific Concepts of Abstract Art], using quotes from [these articles] and underscoring the various contradictions of the journalist and editor [Otero Silva]. The painter Otero considers the texts to be merely didactic and he rejects the accusation that abstract art exploits the language of music and architecture, whereas color, line, and artistic value are the elements that distinguish this new trend. He defends Los Disidentes [The Dissidents] group and their magazine as an expression of youthful rebellion against the erroneous use of culture, while at the same time he pledges his continued honesty, even though this might take a more understanding and mature [tone in the future].

In this first essay that forms part of his lengthy response to Miguel Otero Silva, painter Alejandro Otero (1921–1990) “responds” to each of the former’s arguments against abstract art. His language is even more journalistic in tone than that of his opponent, as he analyzes matters from his own experience as a painter, student, and critic. It is a simple matter for him to point out Miguel’s flagrant contradictions, in particular with regard to the distinctions he makes among artistic elements, which are meant to serve an art that seeks to express human creativity rather than capture events and customs, according to Alejandro; he likewise rejects Miguel’s assertion that abstract art assimilates [elements of] Arabic art, due to the latter’s religious nature and because abstract art rejects the use of symbols. To a certain extent, the debate between the Otero cousins puts an end to a prolonged lack of understanding concerning the legitimacy of abstract art that stretched back to the mid-1940s and that was due to the dominance of cultural nationalism. The debate was covered abroad (Colombia, Cuba, and Argentina) and these sources have been reproduced on various occasions (1957, 1967, 1976, 1980, 1993, 2001).

To continue reading [Alejandro Otero’s] response to Miguel Otero Silva, see the ICAA digital archive: “Réplica a Miguel Otero Silva: II” [Response to Miguel Otero Silva: II] (doc. no. 1097140); and y “Réplica a Miguel Otero Silva: III” [Response to Miguel Otero Silva: III] (doc. no. 1097156)].

To see more on Miguel Otero Silva’s arguments against abstract art published in 1957, see the ICAA digital archive:  “I : Un Relato necesario: Conceptos concretos sobre la pintura abstracta” [A Necessary Account: Specific Concepts of Abstract Painting] (doc. no. 855537); “II: Una división sin contenido plástico: Conceptos concretos sobre la pintura abstracta” [II: A Division without Artistic Content] (doc. no. 855992); “III: Aparición y desarrollo del abstraccionismo: Conceptos concretos sobre la pintura abstracta” [III: The Appearance and Development of Abstract Art] (doc. no. 856012); and “IV: Ubicación social del abstraccionismo: Conceptos concretos sobre la pintura abstracta” [IV: Social Position of Abstract Art: Specific Concepts of Abstract Painting] (doc. no. 856031].