Norberto Berdía (1899-1983) was a Uruguayan draftsman, painter and muralist committed to the Latin American social environment. For long periods he developed a naturalistic figuration with an attachment to volumetric, almost sculptural representation, and later joined the non-figurative art movement, together with José Pedro Costigliolo, María Freire and Antonio Llorens.

In Croma XVII, a still life by Norberto Berdía from 1940 becomes part of the new work, forming a chromatic circle of a mural nature composed of 12 pieces, through a system of opposites: tone vs. nuance, abstraction vs. figuration. A double appropriation, the painting within the painting, the work citing itself.