In this article, the Argentine critic Marta Traba (1923–83), who lived in Colombia, discusses various aspects of the work that Susy Iglicki (b. 1934) exhibited at the Museo de Bellas Artes in Caracas in 1976. This was the Venezuelan artist’s first one-woman show and, though Traba does not specifically mention that, she does say that the work “is no more than three years old,” thus implying that this is the artist’s germinal work. The critic says that the artist is endowed with “a most unique spirit, a serious and perhaps solemn point of view,” and speaks highly of her ability to research forms rigorously, yet without seeking perfection. As a result, Traba describes her work as being the work of a mature artist, one who senses her creative goals and does not stray from them but remains within the limits of reason. Traba mentions the technical quality of the artist’s silkscreen prints presented at other events: at an exhibition at the Museo Municipal de Artes Gráficas de Maracaibo (1978) and at an exhibition at the Galería San Diego, in Bogotá (1980). At all three exhibitions, Traba noticed the artist’s use of space, of planes and the cylindrical element, and of color. Iglicki’s exploration of those elements through silkscreen works led her to take up painting in the 1980s. It should be noted that, during the year when she had her exhibition at the Museo de Bellas Artes, Iglicki was awarded the Prize for Prints at the III Bienal Americana de Artes Gráficas at the Museo La Tertulia in Cali, Colombia, as well as the Antonio Herrera Toro Prize at the XXXIV Salón Arturo Michelena in Valencia, Venezuela. Three years earlier, Iglicki won the Adela Rubinstein Prize, and an honorable mention for her prints at the Salón Arturo Michelena referred to above.