In Carlos León’s first one-person show since his yearlong stay in New York, it was clear that the new direction his work had taken was indebted to the foreign context that motivated it.

In the early ’70s, León came into direct contact with the Parisian Support/-Surface movement. However, he continued to emphasize a knowledgeable art informed by social and cognitive concerns, allowing these to overwhelm the purely pictorial elements. But a phase of continual revision and self-analysis connected to social awareness brought him quite naturally to an unfettered work free of theories—a development