During the 60s and early 70s, a group of young Colombian artists, including Feliza Bursztyn, Beatriz González, Bernardo Salcedo, Álvaro Barrios, and Antonio Caro, boldly transgressed artistic conventions to create art that critics labeled New Realism, Pop, Environments, and Conceptual Art. They achieved success with the crucial support of national and local art institutions. While critics and curators promoted this striking new work as international, it was firmly rooted in national artistic, social, and political reality. The New Iconoclasts. From Art of a New Reality to Conceptual Art in Colombia, 1961–1975 analyze this transgressive art and its relationship with objectives and institutional structures.