Roberto Guevara (1932–1998) wrote this preface to the exhibition catalogue by the French artist based in Venezuela since the 1950s, Marcel Floris (1914–2007), which was held at the Museo de Bellas Artes in 1967. The critic and curator demonstrates his ability to capture the entire range of an artist’s personal poetics in a short essay. In this case, the subject was Floris’s painting, which fell within the Venezuelan trends for abstract and Kinetic art. Like the writer, Floris spent some time working in Venezuela’s advertising world, and while he was there, struck up a friendship with Guevara, who wrote a number of texts on the painter. As one of the pioneers of sculptural installations in Venezuela, Floris created work that could be transformed, changeable structures that broke with the traditional concept of that genre. Between 1960 and 1970, he also worked as a graphic designer as well as a docent at the Instituto Neumann (in Caracas), where he established ties with other designers, including Gerd Leufert and Nedo M. F., also of European origin. Like Floris, the other two artists created significant artwork while they were in Venezuela. Floris shared an interest with them in investigating color, planes and line in the dynamics of space, as well as the idea of reversibility of form. The exhibition Pinturas de Marcel Floris, held in 1967, is the subject of this text. This was a major event in this artist’s life, and the following year (1968), he was awarded the National Painting Prize at the Twenty-Nineth Salón Oficial de Arte Venezolano; subsequently, in 1969, he received the National Prize for Sculpture. Then, in 1971, he was honored by an international distinction: the Gold Medal at the Eleventh International Biennial of São Paulo, where another prizewinner was the Colombian Omar Rayo.