This text is crucial to understanding the role of both sculptor Eduardo Ramírez Villamizar (1922–2004) and critic Marta Traba (1923–83) in Colombian art history. Traba was essential to furthering Ramírez Villamizar’s career. Ramírez Villamizar was one of the artists that Traba most admired, and due to her significant influence in the mass media in Colombia, she was able to turn him into a point of reference for modern art in the country. This text was written for the catalogue of the exhibition Seis Artistas Contemporáneos Colombianos (1963) that Traba organized for the opening of Galería 25 in Bogotá. That exhibition was the first joint show of the six artists whom Traba considered the most important creators of the time: Alejandro Obregón (1920–92), Edgar Negret (b. 1920), Fernando Botero (b. 1932), Guillermo Widemann (1905–69), Enrique Grau (1920–2004), and Ramírez Villamizar. This article is important because it helped place Ramírez Villamizar in the upper echelons of Colombian art, and also because it determined how his work would be seen for years to come. Traba resoundingly asserts that Ramírez Villamizar is the pioneer of abstraction in Colombia. In Traba’s view, his work is bound to a purely formal strain of abstraction, a strain that is concerned with the materiality of art objects, and geometry as the purest of all human forms of reasoning. A constant in geometry is “the exclusion of all motion, sentiment, and vitality.” Traba argues that Ramírez Villamizar’s abstraction is entirely self-referential with no connection to the world of nature or of passion. Thus, this essay—along with texts such as “El Arte Clásico de Eduardo Ramírez Villamizar” written in 1956 by Polish critic Casimiro Eiger [see doc. no. 1093722], and “El Arte Absoluto de Ramírez Villamizar” written in 1963 by Austrian writer Walter Engel [see doc. no. 1093770]—is central to a period when Colombian art criticism envisioned Ramírez Villamizar as the prime representative and pioneer of a certain strain of abstraction. The sculptor was therefore representative of the concerns of the Colombian art scene of the fifties and sixties. A revised and slightly reorganized version of this text was included in the pamphlet Eduardo Ramírez Villamizar. Recuerdos de Macchu-Picchu (Medellín, Museo de Antioquia) of 1986 under the title “Un poder ordenador” (doc. no. 1253919).