The exhibition Colombia, años 70: Revista al arte colombiano (August 2002), and the text “Fisuras en el arte moderno: Nuevas propuestas” by Carmen María Jaramillo (b.1958) are two of the first twenty-first century revisions of Colombian art from the seventies and its implications. The text and the curatorial project are not related per se, since parts of “Fisuras […]” had been formulated prior to the exhibition in Jaramillo’s master’s thesis.Since the first years of this century, Colombian art historians have undertaken a critical revision of the seventies because the “ruptures” and “shifts” that took place at that time merit further analysis. The seventies witnessed the strengthening of the work of artists active in the sixties, while young artists from the cities of Cali, Medellín, and Barranquilla emerged on the art scene. Cultural institutions such as modern art museums also played a key role, as did the controversies surrounding the Salón Nacional de Artistas, and other Colombian and international events that gave rise to an exchange between Latin American visual production and criticism. The catalogue text contains sections of the master’s thesis, “Manifestaciones de la crisis del arte moderno en Colombia: 1968–1978,” (2001) that Carmen María Jaramillo wrote while studying at the History and Theory of Art and Architecture Department of the Universidad Nacional de Colombia. Before getting her master’s degree, Jaramillo studied philosophy. She was the curator of the Museo de Arte Moderno of Bogotá from 1994 to 1998. A university professor, she is also the coordinator in Colombia of the project Documents of 20th-Century Latin America and Latino Art (ICAA, MFAH). Since 2009, she has been the director of Unidad de Artes and other collections of the Banco de la República of Colombia.The exhibition, which was held in 2002, offered a retrospective vision of the seventies in Colombia. According to its curator, John Castles, the show “undertakes a revision of the formulations and concepts operative in Colombian art starting in those years, investigating their most significant contributions to critical figuration through printmaking and drawing; realism as the antithesis of experimental photography; geometric abstraction and the development of Conceptual art” (“Introduction,” Colombia, años 70: Revista al arte colombiano, 2002).The exhibition was held at the Sala de Exposiciones of the Academia Superior de Artes of Bogotá [ASAB], a public institution in the capital city that has offered professional training programs in the visual arts, theater, music, and contemporary dance since 1992.