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Despite being part of the genetic information of painting, which means it has been and
always will be there, it was not until the irruption of the avant-garde in the twentieth century
that abstraction began to self-identify as a fundamental dimension within the Western
pictorial language. It was, we might say, a repositioning of the focal point of art, committed to
generating a world of its own based on the mastery of medial specificities. Clement
Greenberg asserted that it was on the path of the absolute that the avant-garde arrived at
abstract art and poetry attempting “in effect to imitate God …