Pain has become a condition without which the history and criticism of contemporary art in Colombia could not be understood. Talking about pain implies recognizing the sensitive nature of the experiences of those who have experienced, in their own flesh, the armed conflict and its various political edges. A victim, in one way or another, has been influenced by that "sensitive dimension of the creative act in the midst of war" (Uruena 2020: 23). Therefore, two Colombian aesthetic manifestations are presented -Bocas de Ceniza 2003/2004 and Canto La Piedad, 2019-, with which the place of history and art criticism is questioned through a sensitive reading of these works. In this sense, pain is not only reduced to a documentary condition, it is also memory to resignify life.
