Colombian artist Bernardo Salcedo (1939–2007) was a pioneer of Conceptualism in Colombia, and Latin America in general, but he was also acutely critical of Colombian art and politics, one whose work in that area was as insightful as his creative work. In many interviews, he displays critical intelligence and eloquence, and also offers bold positions in the most heated debates. His outstanding role in criticism is evident in the articles that he wrote for the local press, which he occasionally signed with his own name, but mostly with humorous pseudonyms that have a critical meaning. One such pseudonym was “Germán Lleras de Francisco,” a name that mimics a typical intellectual from the Bogotá aristocracy to which Salcedo himself belonged: he was the grandson, on his mother’s side, of president Eustorgio Salgar (1831–1885), who governed from 1870 to 1872, and his father was a cardiologist who was the private physician of presidents and ministers during his forty-year career. Other pseudonyms used by Salcedo, such as “Marta Taba,” reflect other intentions. For this reason, the meaning of Salcedo’s written work is manifold. It serves to expand and clarify his aesthetic philosophy and thinking, and also reveal the tangled situations and circumstances facing the context in which he wrote.