This article, which was originally published in the city of Popayán in the department of Valle del Cauca in 1944, evidences the debate surrounding the problem of “the American” that took place in the forties. It is a remarkable source for two main reasons. First, because it demonstrates the point of view of a foreign artist and writer like Jorge de Oteiza (1908-2003) who, as an exile, had at certain distance from recalcitrant nationalisms. The Spanish sculptor was knowledgeable about art from South America since, from 1935 to 1948, he lived in a number of countries in the continent, including Argentina, Colombia and Peru. This did not mean, however, that de Oteiza was unable to maintain a certain critical distance in assessing both the scope and evolution of art from the region. Second, this is a remarkable source because it duly considers all of the historical influences on art from the region and provides precise assessments of all pertinent arguments. This yields an intellectually honest text that attests to the larger debate without ideological affectations or statements beyond the realm of aesthetics. In short, this document clearly illustrates the main concerns and premises of the debate on “the American,” a topic crucial to understanding the directions Latin American aesthetics, art criticism, and visual art took during the mid-20th century.