Jesús Rafael Soto turned Caracas into a Latin American capital of optical-perception modernism. Working between Venezuela and Paris alongside Cruz-Diez, Gego, Le Parc and Vasarely, he layered black-line panels with saturated primary-color squares and hanging rods until the viewer's own movement produced moiré-shimmer.

This system mirrors that discipline. A cream-paper ground holds crisp parallel-line patterns; vermilion, cobalt and hot yellow squares accent at calibrated intervals. Strict rectilinear geometry, mathematical line spacing, and modernist sans-serif type — the eye does the rest.