The work of the Sevillean painter Gerardo Delgado is in constant evolution. With a formative background in constructivism, he began in the early ’70s to use a theoretical support inspired by American minimalist abstraction. Yet without giving up certain logical presuppositions, he allowed himself a margin of risk. Since 1981 Delgado has made geometry the exponent of his work, simultaneously making it a more autonomous graphic quantity and aggressively deconstructing it, grinding it into the scumbled surface of the painting. The isolated geometric element—a triangle, a trapezoid—loses its precision,