The document reviewed here is the introduction to the exhibition Arte y Tecnología, held in the context of the Spanish Industrial Fair, Expotecnia 95. Ana María Lozano, curator of the exhibition, along with the artist and curator John Castles, emphasizes the slow change that the artists have undergone with regard to investigating and communicating through their works. Lozano perceives two trends arising from the link with technology. In one, technology is used as a means of expression. In the other trend, technology is the protagonist, the subject of the critical, satiric or ironic commentary. This was the heart of an era (1995) in which neither rigid limits nor strict demarcations held true. In a period of this kind, an experimental approach, with artists adding new materials and technological advances, would extend the opportunities for expression in the search for what we might call the total artwork.

Expotecnia is a Spanish industrial exposition that brings together the most important companies in the equipment and technology sector, held each year in a country selected by a group of Spanish exporters. In 1995, it took place in Colombia, and the exhibition Arte y Tecnología, held in the context of that event, was organized in association with the Museo de Arte Moderno of Bogotá. 

The exhibition was held at the Centro Internacional de Negocios y Exposiciones Corferias, in the city of Bogotá. For this exhibition, it was proposed that the participating works integrate the use of technology from different points of view. The majority of these approaches turned out to involve video installations. Outstanding among them were Espejo del alma (1995) by Ana Claudia Múnera (b. 1966), Quiasma (1989–95) by José Alejandro Restrepo (b. 1959) and Morir de amor (1995) by Carlos Echeverry (b. 1955). These three approaches were developed by artists experienced in video. In turn, Beatriz Eugenia Díaz (b. 1965) presented the installation Espacio sonoro (1995), in which the components were sound, water, and several steel cables stretched from the floor to the ceiling. Fernando Arias Gaviria (b. 1963) showed his work Transmisiones(1995), using a fax machine through which he made transmissions to the exhibition site. The thread that ran through every one of the twenty-nine works in the exhibition was the appropriation of the space and a satisfactory visual art resolution, given the experience of the artists invited in this genre. 

The importance of the event was to legitimize art made with new technologies while sketching out a direction toward which video art would pursue in the subsequent years. The exhibition Arte y Tecnología also contributed to expanding the art-viewing public, due to the variety and number of people who attended the industrial fair.