Colombia´s special situation in the 70s decade fed an interest for testimonial themes in the works of graphic artists. As the use of traditional recourses such as drawing, etching and painting evolved, the questioning of explicit contents gained space and other approaches were proposed which fragmented strictly testimonial references as well as promoted the use of new conceptual and technical resources. Thus the notion of ideological conceptualism began to consolidate, and works not only moved in private or imagined spaces, but were also determined by the relation that the artist established with his or her social and political atmosphere.