In this text, which reads almost like a manifesto, Carlos Cruz-Diez seeks to settle some doubts by reconciling the universe of abstraction (which he was beginning to explore at that time) with the Americanist painting he had been producing since the mid-1940s. He believes that the rise of nonfigurative art is a clear expression of the times, and that it addresses the era “of great discoveries, machinism, standardization, and the emergence of new expressive media.” Abandoning the world of museums and easel painting, the nonfigurative artist—sensitive to the usefulness of his production—should see himself as a designer and colorist. By applying its “usefulness” to architecture and industry, abstract art would be able to reach the “humanist” level to which he aspires. 

This text, and the catalogue in which it was published, mark a critical stage in the artistic and intellectual evolution of Carlos Cruz-Diez (1923–2019). Written in the style of a manifesto, the text seeks to reconcile the two worlds in which he was working: on the one hand, a representative kind of painting that expressed “American” values in the struggle against socioeconomic injustice; and, on the other, geometric abstraction, in which he was taking his first steps. “Nonfigurative” painting (as he calls it) is a harbinger of future opportunities as the expression of the industrial era. He seems to be convinced of this, although he concedes abstraction is a form of visual expression that is trapped in an ivory tower, devoid of any true humanist dimension. He therefore claims that, if we consider its “usefulness,” it is time to go beyond museums and easel painting and focus on the aesthetic value of our homes and modern cities. He stresses the usefulness that is part of modern life, at both an architectural and an industrial level.    

Furthermore, the artist must not only acknowledge his responsibility to his historical period; his production should be in synch with the people and, in this case, “with the essence of the Americas.” He thus seeks to reconcile the point of view taken by his Communist friends, who dismiss abstract expressions that they consider “imported” and out of touch with prevalent conditions in Caracas (and in Venezuela as a whole). As a committed creator, the artist must contribute to the transformation of society by becoming part of the modern quest for an artistic, universal invention. Cruz-Diez attempts to express “American” values, which he still refuses to abandon, using his concept of “the sign” as a purer, more general, and expressive way to express an ideal form of “visual art.”

The list of works shown in the text emphasizes his desire to beautify daily life in modern cities, seeing his “signs” as suitable elements for railings, walls, and windows.