This article documents the earliest expressions of Conceptual art in Colombia, which were part of the experimental trends introduced during the 1970s, together with Pop Art and Hyperrealism. Artists such as Antonio Caro Lopera (b. 1950), Bernardo Salcedo, and Álvaro Barrios, among others, were working at that time with new materials and experimenting with new poetic possibilities that stressed the essential message of the work of art. There was a substantial increase in the number of art events presented and exhibition spaces available during that period. There were also some important communal projects organized, such as the Taller 4 Rojo [Red 4 Workshop] and El Sindicato [The Syndicate] (founded in 1976 in Barranquilla), where Caro showed his work in 1977. The Syndicate included Alberto Del Castillo, Carlos Restrepo, Luis Stand, Antonio Arrieta, Sergio González, Ramiro Gómez, and Aníbal Tobón; they organized the Taller de Arte Experimental [Experimental Art Workshop] in an old theater where they produced group exhibitions of their work. The four pieces that Serrano describes here were among Caro’s earlier works. He created Cabeza de Lleras [Lleras’ Head] and Sal [Salt] as part of his experimental use of salt, as a tribute to the workers in the salt mines of Zipaquirá. Caro’s works El imperialismo es un tigre de papel [Imperialism is a Paper Tiger] and Aquí no cabe el arte [There is No Room for Art Here] have political undertones which, in turn, question the event where the works are shown. Caro is one of the first Colombian Conceptual artists whose work has undeniable similarities to advertising, in the distilled nature of its ideas, its use of symbols, and in the clarity of its messages. His work is distinguished by a clumsy approach, and is riddled with humor and political, social, and historical references, in some cases that address the subject of identity.