Thanks to the visual predominance of large "blocks" or groups of paintings, Uribe manages to build, through six severely designed cores, a new three-dimensional landscape of a museographic nature, altering the perspective and the itineraries of views usually summoned by a "landscape" painting.

Such controversies enhance Uribe's intervention as an act of manipulation of works, and as a questioning of the values ​​of "coherence" and doctrinal radicalism disseminated by the geometric avant-garde of modernism.