The painter and critic Pablo Mañé Garzón (1921–2004) identifies attitudes he sees among Uruguayans that combine artistic issues with stereotypical perceptions of a country that sees itself as “small” and somewhat disorganized, where visual artists have, on the whole, been regarded as privileged and out of the ordinary. Disputes have arisen from these conditions that the author thinks basically reflect a conflict between young (non-figurative) artists and what he describes as “old” figurative artists. In Mañé Garzón’s opinion, these conflicts draw a line that separates current art from the art of the 1950s that can no longer be considered truly current. Faced with this range of ideas, he sees a revitalized younger generation of artists (whose “innovation” is an expression of the surprisingly powerful movements of the 1960s) who are ready to break with the past and express themselves with greater freedom in all areas, including art techniques involving color and materials. The author identifies a new generation of “colonists” whose avant-garde is based on a new kind of realism, with powerful expressionist undertones that are inspired by Paris, Barcelona, and New York. Informal and concrete art styles gained greater acceptance at the time, especially after several events that had quite an impact in local Uruguayan art circles, such as the 1959 exhibitions featuring works by Antoni Tàpies (1923–2012), and Alberto Burri (1915–95), and, in 1960, the collection of paintings presented at the Spanish Embassy in Uruguay: Espacio y color en la pintura española de hoy. Mañé Garzón does not mention the latter two, despite the fact that they were on the short list of influential events that showed what was referred to as “arte otro,” which was also considered a new standard in modern art.