[1] Quote reproduced in Ana M. Franco, “The Magic of a Traffic Light: Edgar Negret’s Sculpture,” in Edgar Negret: The Bridge, exh. cat. (New York: Leon Tovar Gallery, 2015), 11.
[2] Ana M. Franco, “Edgar Negret and Eduardo Ramírez Villamizar: Transnational Encounters and the Rise of Modernism in Colombian Art, 1944–1964,” (PhD diss., New York University, 2012), 21–25
[3] Ibid., 31
[4] Ibid., 33–34.
[5] Ibid., 37–38.
[6] Ibid., 50.
[7] Ibid., 53–55.
[8] Ibid., 59.
[9] Ibid., 87. Quote originally transcribed in Fausto Panesso, “Negret,” in Los Intocables (Bogotá, Colombia: Ediciones Alcaravàn, 1975), 69.
[10] Ibid., 71–72.
[11] Ibid., 109–110.
[12] Ana M. Franco, “Geometric Abstraction: The New York–Bogotá Nexus,” American Art 26, no. 2 (Summer 2012), 36.
[13] Franco, “Edgar Negret and Eduardo Ramírez Villamizar,” 99. Transcribed in Samuel Vásquez, “De milagro en milagro,” in El abrazo de la Mirada (Medellín, Colombia: Fondo Editorial Ateneo Porifiro Barba Jacob, 2007), 29–30.
[14] José Maria Salvador, Edgar Negret, 1957-1991: De la máquina al mito, exh. cat. (Monterrey: Museo de Monterrey; Mexico City: Museo Rufino Tamayo, 1991).
[15] See Ana Maria Franco, “New Classicism: Between New York and Bogotá in the 1960s,” in New World: Frontiers, Inclusion, Utopias, ed. Claudia Mattos Avolese and Roberto Conduru (São Paulo: Comitê Brasileiro de História de Arte, 2017), 173.
[16] Salvador, Edgar Negret, 1957-1991.