In this essay, the curator Carmen María Jaramillo discusses the work of Manuel Hernández in great detail, mentioning his artistic sense of place and his references to the context of art and the history of Colombia. Jaramillo describes Hernández as “insular,” wedged between the generation of Alejandro Obregón Rosés, Enrique Grau Araujo, Edgar Negret, and Eduardo Ramírez Villamizar and the subsequent generation that included artists such as Beatriz González, Bernardo Salcedo, and Carlos Rojas. Jaramillo puts considerable distance between Hernández and Obregón when she quotes the critic Leslie Judy Allender who said that Hernández was the only Colombian artist who was not strongly influenced by Obregón. This essay appeared in one of the leaflets containing articles devoted to artists of significant importance and/or presence in the Banco de la República de Colombia’s art collection. Hernández has been described as one of the most important Abstract artists in Colombia, having been awarded the Gran Orden del Ministerio de Cultura [Grand Order of the Ministry of Culture] (1998), and the First Prize for painting at the XII Salón de Artistas Colombianos [12th Colombian Artists Salon] (1961). In addition to Jaramillo’s in-depth review, the leaflet includes a list of Hernández’s most important exhibitions up to 2005 (when the leaflet was published), his honors, and his prizes. Jaramillo’s sources for this essay included transcripts of Hernández’s conversations with the journalist José Hernández and with Camilo Calderón, as well as key catalogue texts, such as Manuel Hernández, published by the Museo de Arte Moderno in Bogotá in 1983.