Born in Rome, his family moved to Brazil when he was a child. In 1949, Cordeiro participated in the historical exhibition Do Figurativismo ao Abstracionismo, (From Figuration to Abstraction), at the recently opened Museum of Modern Art in Sao Paulo.

Later, working and showing with the group "Ruptura," he first exhibited Idéia Visível also at the Museum. In 1968, Cordeiro pioneered computer art research in Brazil by gathering a group of mathematicians, engineers, and artists to develop ideas for this new field. His 1971 exhibition, Arteonica, explored the use of electronic medium in the arts.

In the late 1950s he forayed into mainstream geometric abstraction painting, making hard-edged geometric works in dramatic colors. In the 1960s he taught in New York and created large murals for numerous projects, eventually turning to sculpture.

Ramírez Villamizar was influenced early on by the work and writings of Torres-García, occasionally producing pieces with pre-Columbian titles. But after a trip to the Andes in 1983, he began a series of works inspired by his experience of the architecture of the Incas, Remembrances of Machu Picchu.

An art school graduate, Cruz Diez came to New York to study art and advertising. After his first trip to Paris in 1956, his preoccupation with color as a source of energy, the relation of color and form and how they animate the pictorial surface became the subject of his work.

In 1959, influenced by Cinétisme, (Op Art), he created Physichromies, works composed of vertical lines of color, interspersed at regular intervals by colored bands of Plexiglas that produce shifting geometric images that emerge, intensify, change and fade through the displacement of light when the viewer moves. In Paris, 1965-1969, his installation Chromosaturation Labyrinth and Chromatic Promenade exposed the passers-by to blue, red and green light as they walked through intensely lit booths.

Among his most renowned large scale projects are: Additive Color, the mosaic floor of the airport in Caracas and Chromatic Induction, huge painted silos at La Guaira harbor, also in Venezuela.

As a young artist, Otero traveled to the United States and Europe in 1945, where in Paris he created the magazine Los Disidentes (The Dissidents) in 1950. Verticality is the main feature in the series of paintings on wood panel he titled Coloritmos, where the visual attention is constantly shifted in an upward and downward motion by the rhythm of color combinations. One of Otero's first Coloritmos was purchased for MoMA by Alfred Barr in 1955.

An important aspect of his work was his collaboration with architects; two examples are Policromía, painted on the exterior walls of the 8-story School of Architecture of Caracas University; and a large vertical panel for a Shell Gas station, made of aluminum and concrete.

Awarded a Guggenheim fellowship in 1971 to study at MIT, his ideas were radically altered by concepts of dynamics, physics and art, interacting with natural elements. He designed large structures in steel or anodized aluminum, which are set in motion by wind or water, like the Ala Solar he built in Bogotá, and Estructura Solar, 1977, for Olivetti in Milan.

In these canvases, color is practically eliminated so as to achieve "an atmosphere unburdened by gravity." By omitting the horizon line and working with subtle and ethereal tones and technique, in paintings such as the 1978 Atmosphere, she created the illusion of unlimited open space and light.

Her interest in photography and the cropping of images resulted in her large figurative canvases: close-ups of still lives of tropical fruit or details of a figure in brilliant colors. Her new sculpture, slices of watermelon, which taken out of its context of scale become large abstractions.

The 1966 prize winner of the III Biennial in Córdoba, Argentina, his shaped canvas painting, Duino, was purchased by Alfred Barr for MoMA, where it was later included in, The 1960's: Painting and Sculpture from the Museum Collection.

By 1970 and living in New York, Paternosto transformed his shaped canvases into flat-surfaced rectangles with deep sides. The sides became the focus of his "Oblique Vision" works. In Pawqar, 1978, the viewer has to take an angular view to see both painted surfaces simultaneously.

In 1977 he traveled to northern Argentina, Bolivia and Peru, his first exposure to the Andean region that was to prove very significant in his future work. His minimalist canvases and cement sculpture are simultaneously modern while permeated by the past civilizations of South America.

Studied architecture and art in Colombia before traveling to Rome in 1957 to take design courses. He exhibited in New York at the Center for Inter American Relations, (Americas Society), and at the XII Sao Paulo Biennial in 1973.

In Geometría Sensível he showed several paintings titled Transparencies that were delicate grids painted with vegetable dyes. Concurrently he began to work in sculpture, his minimalist pieces resembled frameworks.

Rojas explored Cubism stretching its possibilities, and in Untitled, 1972, a precursor of his steel sculpture, he used several types of wood molding as in Cubist collages, to create an open structure that while suggesting its origins, is free of any direct reference to reality.

Soto sought "an optical vibration of the painting," as he stated that he wanted to "dynamize" Mondrian. In works such as White and Pink T's, he superposed two elements to create this using thin black lines painted on the white background and the white and pink wire T's rising from the surface. From the superposition of the two, optical vibrations result when the viewer passes in front of the stationary work.

He is renowned for his huge Penetrables, like the one he built for a Renault factory in France where 250,000 metal rods suspended from the ceiling create a "full universe," where space, time and matter become one in a continuum of infinite vibrations.

He founded the Museum of Modern Art Jesús Soto that houses an outstanding collection of his own work and that of other major Latin American artists.

"If my dreams had the persuasive persistence of time, if while meditating I could contemplate the mystery of my own skeleton and climb over the rainbow to find the Great Silence, and then in my ship risk the labyrinths of a mystic geography, maybe one day I could build that object I once glimpsed in a small wood box together with a dead beetle." Artist's statement: Geometria Sensível exhibition catalog, 1978.

Bonevardi, studied architecture in Córdoba, Argentina, receiving a Guggenheim grant in 1958. When he settled in New York, where most of his mature work was produced, Bonevardi, like a minority of artists there in the early sixties, was reacting against abstract expressionism.

In his assemblages made of superimposed planes of wood and burlap he combined painting, sculpture and architecture in a single mode. Bonevardi inserted mysterious, painstakingly made objects in his reliefs, whose deep diagonal planes and ingenious foreshortenings create daring perspectives that recall De Chirico.

University of Texas Press is currently preparing a major Bonevardi publication with texts by Dore Ashton and Roland Christ.

Reflecting her German architectural schooling she developed a structural connective system based on the triangle and the square. An example is Partiendo de un rectángulo II, (A Rectangle as the Point of Departure II), whose parallel lines curve and rotate in space, then close upon themselves, producing volumes that integrate empty space as part of its totality.

Reticulárea, 1969, the title plays with the word retícula, (in Spanish mesh, and area) a net that according to Gego represents life, now permanently installed at the Galería de Arte Nacional, in Caracas is considered her major work. True to its environmental character, it was completed during the process of assembling it. Robert Storr, in the June 2003 issue of Art in America described it as, "an astonishing tessellation of suspended, interlocking stainless-steel wire elements that fills a large white room whose corners have been rounded so that viewers can more easily lose themselves and their sense of scale in the triangulated, volumetric webs that surround them, webs through which they move like planes navigating the gaps in a cloud bank."

For Torres-García, the symbol was a way of synthesizing idea and form while bypassing narrative. He called this conjunction the nexus between the vital (or living) and the abstract. By inserting a symbol representing humanistic values into the antithetical rational structure of neoplasticism (which was devoid of human references), Torres succeeded in creating a style that constituted a major contribution to modern art. He called it Constructive Universalism.