In these two essays by Argentine artist Luis Felipe Noé and Mexican writer Juan García Ponce respectively, the authors discuss the originality of the prints by Colombian artist Omar Rayo. Noé first states that in his prints, Rayo attempts to discover objects’ ability to mean something else, that is, their power to transcend their meaning. Noé also states that, thanks to Rayo’s painterly eye, he is able to give his prints texture and a tactile quality. In his essay, García Ponce emphasizes Rayo’s technique and use of materials. On the surface of the blank page, he gives shape to compositions of forms and objects in relief with a balanced precision. Any everyday object might become the theme of Rayo’s “tactile” prints.

An exhibition of the work of Omar Rayo (Roldanillo, Colombia, born 1928) was held at the Galería Colibrí in San Juan, Puerto Rico, from April 19 to May 18, 1968. The works in that exhibition included My First Hero, La passion [Passion], Le Pelican, The New Attila, Her Torture, Tenacious, Peace, Sense of Security, The Sinner, Portrait, Off Off-Duty, Why the Tower Is Tired, and Cooperation. In 1970, Rayo was awarded a prize at the Primera Bienal de San Juan del Grabado Latinoamericano [First Latin American Print Biennial, San Juan] for his work El hombre está ausente [The Man Is Absent]. Later, in 1981, he was a member of the international jury for the Quinta Bienal de San Juan del Grabado Latinoamericano [Fifth Latin American Print Biennial, San Juan].The galleries that promoted graphic work by artists from Puerto Rico that opened in San Juan in the 1960s included Galería Isla (opened in 1963), Galería Sol (opened in 1964) and Galería Santiago (opened in 1965). Of them, the Galería Colibrí (opened in 1963) under the direction of Luigi Marrozzini (1933–1997) was particularly outstanding. It was sponsored by artists and by the Instituto de Cultura Puertorriqueña (ICP). In its first years, it focused solely on the exhibition and sale of graphic art from the island.