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. . The window functions here as a geometric frame that imposes limits on the gaze, but also conditions the artist's entire compositional process from "outside" to "inside."

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. It is a montage that self-legitimizes the coexistence of aesthetic criteria that would have been considered antagonistic and impossible to combine, for example, in the neoplastic doctrine of 1920.