In1968, at the Venice Biennial and in the midst of anti-establishment disorder, poetry recovered its place for a few hours: by means of a biologically innocuous liquid that sailors around the world use to identify vessels, Uriburu colored the waters of the Canal Grande a fluorescent and electric green. The stream of green dissipated, for a few moments, the dense demagogical miasmas of the Giardini jungle. Uriburu had delivered a masterful blow, a splendid demonstration of the moral hygiene of art.

This action in Venice became the springboard for an international coloring campaign: Uriburu’s green was at the four cardinal points, in two continents, coloring the most celebrated waters.

Whether akin to a traditional aesthetic, body art, land art or sociological art, there is no hierarchy in the three media that Uriburu uses. They are part of a single linguistic system and, as such, they are all fully works of art.

For thirty years Nicolas García Uriburu has been ceaselessly singing a hymn to nature, integral nature, natura naturans and natura naturata, the nature of men and the nature of things.

Pierre Restany