In the exhibition for which Beatriz Viggiani wrote this essay, Pedro Alcántara presented lithographs and drawings produced from 1968 to 1973: Tres sueños no tendrán fronteras [Three Dreams With No Borders] (1968), Retrato de un guerrero no. 1, no. 2 y no. 3 [Portrait of a Warrior No. 1,No. 2 and No. 3] (1972), La muerte de Miguel Suárez [The Death of Miguel Suárez] (1973), Hombre caído no. 1, no. 2, no. 3, no. 4 [Fallen Man No. 1,No. 2 , No. 3, No. 4] (drawing, 1973), and Fusilado [Shot] (drawing, 1973).Lorenzo Homar met Colombian artist Pedro Alcántara (b. 1942) when the latter was in San Juan for an exhibition of his work at the Galería El Morro (Dibujos y monotipos [Drawings and Monotypes], December 4, 1970) and for the Primera Bienal de San Juan del Grabado Latinoamericano [First Latin American Print Biennial, San Juan] (1970) in which Alcántara participated. Later, Alcántara had the opportunity to work in Homar’s studio, where he first came into contact with the silkscreen technique. From that time on, they became and remained close friends. In 1972, Homar was invited by the Museo La Tertulia in Cali, Colombia, to give a class on silkscreen [printing] to a group of artists from that city. During the ten-day workshop, artists Pedro Alcántara, Enrique Grau, and Phanor León were able to print silkscreens for the portfolio that Cartón de Colombia was putting together that year. Shortly after the workshop, Alcántara, with Homar’s assistance, began working on plans to open a permanent printmaking studio. On August 23, 1974, a show featuring some of Alcántara’s graphic work from 1964 to 1974 was held at the Museo de Grabado Latinoamericano [Latin American Print Museum] of the Instituto de Cultura Puertorriqueña. Homar designed and printed the poster announcing the exhibition.