The essay “Bordes del dibujo” [Borders of Drawing] by Ana María Lozano is the theoretical-curatorial commentary on the exhibition of the same name that was presented at the Museo de Arte at the National University of Colombia in 2007. It was distributed on CD-ROM as a souvenir of the event, and includes a detailed history of the craft of drawing from the nineteenth century through the early twenty-first century that explores the various forms of modernity in the Americas and in Europe along the way. Lozano looks for a definition of drawing, but concludes that its essential nature as well as its most interesting feature is its very elusiveness, its characteristic lack of definition, an idea that she uses as the basis of the exhibition. According to Lozano, “To draw is to conceptualize, to point, to think. It is to associate, to isolate, to traverse. It is elastic and persistent, but it is also mutable.” The participating artists at that exhibition were Miguel Ángel Rojas, Johanna Calle, Marta Combariza, Liliana Estrada, Claudia Puentes, Mateo López, Ana Patricia Palacios, Humberto Junca, Darío Ramírez, Pablo Solano Puerto, Olga Lucía García, Teresa Sánchez, Carlos Franklin, Luz Ángela Lizarazo, and Carlos Mery.

This document has been used in several art faculties in Bogotá as an academic resource for lectures on contemporary drawing. The broad definition provided by the Colombian curator Ana María Lozano (b. 1964) is a harbinger of things to come in Colombian art, and could contribute to the development of new categories in the field of theoretical thinking on the subject of drawing. This essay could also be used as the basis for research into the work of a number of twenty-first century artists who use drawing in many and sometimes unsuspected ways, including: Juan Mejía (b. 1966), Miguel Ángel Rojas (b. 1946), Mateo López, Humberto Junca (b. 1968) (see doc. # 1099366), Bernardo Ortiz (b. 1972), and Giovanni Vargas (b. 1976). These artists tend to use drawing in their work, though they also use other elements that are sometimes from beyond the realm of art, such as an accumulation of time, ruins, typographical applications, noise and fabric, cartography, erasing, and suppression.

Ana María Lozano was a member of the curatorial department at the Museo de Arte Moderno in Bogotá from 1995 through 1999, and worked there as a curator from 2001 to 2003. She has also worked as a curator at the following galleries in Bogotá: Cu4rto Nivel Arte Contemporáneo, Solar, La Galería, and Club El Nogal.

Lozano has written about photography as well as drawing; she has curated exhibitions of sound art and promoted artists who work with the material nature of sound, such as Mauricio Bejarano and Juan Reyes. Her essays have been published in a number of catalogues and printed records of exhibitions and events, most notably in the book Cu4rto Nivel Arte Contemporáneo [Fo4rth Level Contemporaty Art], published by the gallery of the same name, which includes her curatorial essays and reviews of works shown at exhibitions at that gallery from 2004 through 2007.