2021-03-042017-01-011794588725391208WOS;000406101900014SCOPUS;2-s2.0-85027013244http://hdl.handle.net/10784/26320This paper analyzes some of the works of the artist Maria Teresa Cano in light of the notions of instant, memory and gesture. Cano's work, which has not been reviewed enough by the theory and history of contemporary art in Colombia, demonstrates the ruptures that occurred in the types of representation in the country during the eighties. Participatory art, action art, the inclusion of food as support and the use of everyday situations as a point of reference for various object-based works, place her work in an unusual place within the historical studies of the national art scene. Although Cano's work is extensive and varied in its media, some notes should be made about the use of the body and the gesture, since her work strategies constitute a place rarely visited by artists of her own generation.spahttps://v2.sherpa.ac.uk/id/publication/issn/1794-5887articleColombian artContemporary artGestureInstantMemoryParticipatory art2021-03-04Gómez J.L.10.17230/co-herencia.14.26.14