This chapter of the encyclopedia Historia del arte colombiano [History of Colombian Art] written by Germán Rubiano is divided into three parts. In the first part, Rubiano discusses the art that is referred to in the chapter and that he considers to be current (1977), spanning the work of Alejandro Obregón and Edgar Negret through the time of writing. Among his notes are references to the artists’ scant use of supports and technical tools; the formal and conceptual diversity in the works; and the predominance of figuration over abstraction, an example of how Colombian art conformed to international trends and an indication of the development of Latin American styles. In the second part Rubiano describes and discusses the work of draftsmen and printmakers that stood out at young artist salons and group exhibitions in Colombia. He also mentions those who had exhibited their work at these events and now lived abroad, and the photographers who showed great technical skill. In the final part, Rubiano addresses new factors, such as the absence of art criticism in Colombia, and the lack of understanding about art among the general public and sponsors alike.  

This chapter, in the encyclopedia Historia del arte colombiano [History of Colombian Art] produced by the Salvat publishing company, is an integral part of what was going on during the 1970s. Both because of the time period that it covers (art from the Pre-Columbian period through the 1970s) and because of its historical perspective, the researcher María Soledad García rates the document as one of the seminal texts in the history of Colombia art (in María Soledad García, La historia en la historia: Actas III Encuentro de Historiadores de Arte [The History in the History: Records III, Meeting of Art Historians]. Santiago de Chile: Universidad de Chile, 2005).      

Germán Rubiano (b. 1938) discusses the work of the Argentine poet and essayist Saúl Yurkievich (1931–2005), who sees the positive side of Latin American artistic diversity and the role played by Colombia in that process. Rubiano also mentions how important it was that the creativity of those artists was being nurtured by a constant dialogue with the art being produced in international circles at the time. He stressed this in particular in the chapters referring to events circa 1977.  

In addition to the above, the methodology used in this chapter seeks to describe the work of each artist mentioned and to consider graphic design, cultural artifacts, and specifically in this chapter, photography as works of art.