In his essay “Pintura e Iconoclastia” [Painting and Iconoclasm], the Colombian artist Carlos Salazar attempts to explain why painting has been declared dead at different times in history. According to his thesis, painting is an atavistic, instinctive, and sexual activity rather than a product of culture. He supports his argument with statements made by painters such as Nicolás Poussin and Joan Miró who in turn endorse the philosophical-psychoanalytical ideas advanced by Sigmund Freud, Friedrich Nietzsche, and Arthur Schopenhauer. Salazar goes a step further by quoting a generous number of examples from the animal kingdom to substantiate his claim that the origin of painting can be traced to “an evolutionary drive inherited from the aesthetic sense of animals” that is, therefore, older than mankind. He mentions, among other examples, the female bowerbird (3) that chooses its mate according to its suggestions concerning the nest decoration, and the cats that prefer to paint with acrylic paint, rather than oils, because the smell is similar to their own urine. Salazar explores the work of the English zoologist Desmond Morris, who concluded that there are six biological principles that apply to painting: from Leonardo da Vinci to Congo (the chimpanzee that was used in the research project). He therefore argues that the roots of art can be traced back to our ancestors and to the animal kingdom. Salazar refers to the stimulation of hormone production generated by the pleasure involved in the act of painting, and explains painting from a scientific perspective as an innate and therapeutic function of the nervous system, but not as a moral outlet as proposed by the North American art critic Arthur Danto and the feminists. Among the latter, Salazar singles out Naomi Wolf, who claims that beauty is a weapon created for domination by the male of the species. Following this introduction, he reviews the phenomenon of iconoclasm (in terms of its various genres, including medieval, protestant, and nineteenth-century political militancy, according to Hegel), and contemporary iconoclasm.