[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), 122–123.
[3] Ibid., 120.
[4] Ibid., 136–137. See also 144–146.
[5] Ibid., 136.
[6] Ibid.
[7] Ibid., 149.
[8] Ana M. Franco, “Eduardo Ramírez Villamizar en contexto—pintura, relieve y esculturas entre 1950 y 1974,” in Ramírez Villamizar: Geometría y Abstracción (Bogotá: Ediciones Gamma, 2010), 24.
[9] Villamizar quoted in his obituary authored by Germán Rubiano Caballero in ArtNexus 3, no. 54 (2004): 66.
[10] Franco, “Eduardo Ramírez Villamizar en contexto,” 25.
[11] Quoted in Caballero, 66.
[12] Franco, “Eduardo Ramírez Villamizar en contexto,” 26–27.
[13] See Franco, “Geometric Abstraction: The New York–Bogotá Nexus.”
[14] Stuart Preston, “Mind and Eye,” New York Times, November 6, 1960.
[15] Franco, “Edgar Negret and Eduardo Ramírez Villamizar,” 169.
[16] Stanton L. Catlin, foreword in Eduardo Ramírez: Sculptor, exh. cat. (New York, NY: Center for Inter-American Relations, 1968), 3.
[17] Franco, “Eduardo Ramírez Villamizar en contexto,” 34–37.
[18] Eduardo Ramírez Villamizar, “Homenaje a los artífices precolombinos,” reproduced in Eduardo Ramírez Villamizar: His Own Sacred Geometry, exh. cat. (Miami: Durban Segnini Gallery, 2017), 40.
[19] Villamizar, “Homage to Colombian Craftsman,” 41.
[20] Quote reproduced in Frederico Morais, “Utopia y Forma en Ramírez Villamizar,” in Ramírez Villamizar, exh. cat. (Bogotá: Museo de Arte Moderno, 1984), 31. The author also references hai-kai poetry.