In this text, Jorge Romero Brest responds to an article by Damián Bayón about what qualities make art produced by Latin American artists Latin American, and to four related questions about the nature of Latin American art which were sent to him by Revista de Artes Visuales magazine’s editor, Carla Stellweg. Romero Brest begins by noting that, even though he agrees with much of the literal meaning of Bayón’s text, he found Bayón’s grasp of artistic intent too absolute. Instead, Brest argues that the value of a work of art should be understood as something defined by experience, as always produced by the “dialectic play” that occurs in any given socio-cultural context. In four points, he responds to the questions (which are not reproduced in the text) related to the question of a Latin American aesthetic. In the first point, Romero Brest distinguishes between the “aesthetic” and “artistic,” defining “aesthetic” as a creative way of existing in the world. “Latin American aesthetic,” he argues, is not the concrete qualities found in artworks, but instead, the “conjunction of transitive and intransitive points of view.” In the second point, Romero Brest argues that aesthetic unity is impossible in Latin America because of the region’s “tremendous cultural diversity.” In the third, he calls for the investigation of “aesthetic modes” in Latin America, which encompass, “. . . gestures, movements of the body . . . fashion, inflections of the voice . . . ideas, institutions, feelings, mandates . . . in relation with the environmental characteristics determined by race, religion (as dogma or cult), the political system, morality . . .” In the fourth point, Romero Brest clarifies that, while it is impossible to locate the beginning of Latin American art in history, we can examine the question of when Latin American art began to seek out originality; and he argues that the most promising areas of aesthetic originality in Latin America are the cultures of minorities, including indigenous and Black groups, and of youth. He concludes by declaring the easel painting an impoverished and anachronistic medium for this mission.