In this paper we study Luis Vidales debut opera, Suenan timbres, as the possible destabilising element of the catholic-conservative order in Colombia’s early 20th century, in frame of Los Nuevos. Besides, we study the concept of idiotism presented by Vidales, as a key factor in the assimilation of his aesthetic proposal, and his closeness with Kant’s nonage that allows the writer to present a poetic piece, with strong political content and clear renewal intentions, that act as a critic to the traditionalist society, determined by the colonial precepts. This way in Suenan timbres, Vidales appears in the national panorama as a poet of the critique.