Torres-García came home to Montevideo in 1934 and stopped painting pictures. What he made instead was a writing system: unequal rectangles ruled onto found carpentry board with compass and straightedge, each cell holding one schematic glyph — sun, ship, anchor, fish, clock, ladder, key, a standing figure.

The primaries are there, but dirtied. Tempera and oil laid thin over unprimed wood come out ochre, brick, greyed slate — earth-bound, never Mondrian-clean. Symbols stack like Inca coursing, proportioned on the Golden Ratio. The grain reads through everything.