This article was published in 1981, which was after a decade in which many Colombian artists returned to two dimensional work and figuration, and therefore, representation. For some critics, including Serrano, most of this work was facile and conservative. This article forms part of a debate taking place in Colombia at the time about the concept of realism, which some believed had to go beyond academic imitation of reality on the basis of observation, as well as the limitation of the testimonial, and of social criticism. In Colombia, reflection on the connection between art and reality made way for art that displaced the artist’s “craft,” for intellectual and conceptual work. As an art columnist, Eduardo Serrano (b. 1939) wrote for the newspaper, El Tiempo (Bogotá, 1972–74) and on occasion for Revista del Arte y la Arquitectura (Medellín, 1979–81), and was a curator, first at the Belarca gallery (Bogotá, 1969–76), and then at the Museo de Arte Moderno (1972–94). He supported young artists in the seventies, especially those who ventured to produce what he called “avant-garde” work, which experimented with concepts (ephemeral art) and media (photography, installation, and performance) hitherto absent from the Colombian art scene. Unlike artists who deal with reality on the basis of strictly academic parameters, Miguel Ángel Rojas (b. 1946) produces work that combines craft and experimentation. In Grano, Rojas introduces a divergent realism; he interprets and addresses reality in a conceptual way by making use of technical tools as related to drawing, printmaking, photography, and “environments” (environmental spaces that would now be called “installations”).