Written by Enrique Salinas, this article was included in the cultural section of the Zacatecas (Mexico) newspaper Imagen, of which he was the editor. It reports the opening of the exhibition Barichara, lo visible de lo invisible at Galeria Arroyo de la Plata, in the same city. The works exhibited were made by artists from Colombia, Venezuela, and Mexico, and were on show for a month. The text presents the show as an “international painting exhibition” and lists the artists involved by country of origin. Salinas states that all the works included are made on henequén (sisal) paper and comments on the pictorial quality of the display and the high curatorial reputation of the gallery. It is illustrated by the image of Composición, a work by the Zacatecan-born artist Juan Manuel de la Rosa, and photos of the opening.

The title of the exhibition, Barichara, lo visible de lo invisible (Barichara, The Visible of The Invisible) refers to that Colombian town where a kind of henequén paper is produced, so that it was used as common support for all the artworks exhibited. The nexus between the gallery, in Zacatecas, and the reference to Barichara implies the Fundación San Lorenzo de Barichara. Indeed, this Colombian Foundation was founded by the Zacatecan-born artist Juan Manuel de la Rosa in 2001, the year before the show was displayed (between June/July 2002). It had started as an atelier dedicated to the production of natural fibers paper and de la Rosa was involved in the organization of the event. While henequén is extracted from an agave plant (originally from the Yucatán peninsula), the Barichara atelier mainly focused on paper made of fique, also a natural fiber from the agave family but native from the Andean regions, including Colombia.

The prominence of Zacatecan-born artists in the activities of Galeria Arroyo de la Plata was (and still is) a primary goal of this gallery. Besides de la Rosa—who had a key role in the titling of the show as well as in the making of the support of the works—Manuel Felguérez was the other artist involved, an important figure of the 1950s Mexican Generación de la Ruptura. All the works exhibited were abstract, and while the support is the same, the techniques differ. The Colombian participants in the show were Olga de Amaral, José Bermúdez, Jaime Franco, Manuel Hernández, Ángela Jiménez, and Juan Antonio Roda. The Venezuelan representatives were Luis Lizardo, Mercedes Pardo, Manuel Quintana Castillo, Luisa Richter, Eliana Sevillano, and Lihie Talmor. As for the Mexican ones, besides the aforementioned Felguérez and de la Rosa, the show included  Irma Palacios, Francisco Castro Leñero, and Lorenza Aranguen. While the article mentions twenty-seven artists, it only lists seventeen.

The ICAA’s Digital Archive holds documents on several artists in this show; with regard to Felguérez, see “El primer Salón Nacional de Pintura: Pintura, Política y otros primores” (doc. no. 793207); on Olga de Amaral, “Cuatro tiempos” (doc. no. 1134094) by Eduardo Serrano; on Roda, “Tumbas: Juan Antonio Roda” (doc. no. 1092548) written by Marta Traba; on Pardo, “El Espacio en la pintura de Mercedes Pardo” (doc. no. 1102285) by Gloria Carnevali.