In this interview, Danilo Dueñas (b. 1956) discusses his way of thinking about Abstract art with the journalist, Diana Lloreda. He defines it as a complex concept that requires an artist to develop based on the possibilities that were laid down in the early twentieth century by well-known Abstract artists. Examples of these artists are Wassily Kandinsky (1886?1944), whom Dueñas classifies as an “organicist,” as opposed to Piet Mondrian (1872–1944) and Kazimir Malevich (1878–1935), whom he calls “mechanicists.” Dueñas believes that the necessity to innovate, which continues to be evident in Post-Modern Art, is a mistake. In his opinion, that intent leads to immature art. Dueñas argues that it is impossible to develop a rigorous work based on a thinking process or on basic art concepts such as abstraction and composition considered, along with structure, starting from a physical space. In the artist’s opinion, the physical space is the material world from which the artist may work without the limitations imposed by memory; moreover, it is there where the artist may set aside the biases introduced by the social space. This is why there is a higher degree of freedom to act in the physical space, setting aside the weight of the ideas, the history and other such vectors that burden the social space. An understanding of Dueñas’s arguments is basic to grasping the development of his work; from his starting point, experience, he moves on to the thinking process. By stepping out of the stream of Post-Modern Art, he paradoxically returns to Modern art, which entails reclaiming innovation and rupture. To the artist, Modern art should be understood as a history of impulses that we must take into account, in order to ponder it and take it to a higher level. In Dueñas’s opinion, this is what happens in painting.