Hernando Santos Castillo, director of the newspaper El Tiempo, considers Norman Mejía one of the most promising young painters in the country mostly because “Mejía has wisely managed to avoid the Obregón-Botero complex,” an almost inevitable point of reference in the work of many young artists. Due to the influence of those figures, Santos Castillo argues, many young painters have failed to develop a distinct personality and, hence, a painting unfettered by convention. The article, then, focuses on Mejía’s ability to produce unique work and, thus, to avoid—unlike so other young artists—falling into formal imitation of the recognized artists of the time, specifically Alejandro Obregón and Fernando Botero. “An example who knew how to break this rule was missing. And it was Mejía who did it.” Santos Castillo claims. The text analyzes Mejía’s ability to create a unique pictorial world; it does not provide formal details about his painting, its themes, or the impact of his images. Santos Castillo’s aim is to praise Mejía’s unique and original personality, which enabled him to develop works like La horrible mujer castigadora [The Terrible Punishing Woman], a work mentioned, though not analyzed, in the text. The article closes by further praising Mejía’s bold personality and envisioning his future as a major figure in Colombian art, one on par with Obregón, Botero, and Grau.