This painting had been created four years after Torres-Garcia returned to Uruguay from Europe.

In this artwork, Torres-Garcia lacks symbolism in this grid, however, he displays three sets of footnote.
  On the lower left he writes "38" which stands for the year he has created it and his signature of initials, "JTG".
 Also, on the lower right of the canvas he writes AAC to identify his membership in Asociacion de Arte Constructivo, for he has founded the group.
 Lastly, he includes "ENE1" in the lower center, which is an abbreviation of Enero 1 (January 1).
 Interestingly, he states that this artwork is the first work of the year.

This painting is one of many in the series of his empty gridded creations.
 He has continued this in 1935 and continued into the 1940s where he would refer to Incas stone works through a figurative connection of its social and cultural concepts.
 The grid would trigger conversations of the role abstraction has in his style.
 He plays with light and shadow to develop the effect of modeling.
 In this case, he creates a three dimensional view on a canvas.
 Because Torres-Garcia painted on paper and then mounted it on a wooden canvas, he draws viewers attention to the surface and has them realize that he has created an interlinked stonewall.
This painting had been created four years after Torres-Garcia returned to Uruguay from Europe.
In this artwork, Torres-Garcia lacks symbolism in this grid, however, he displays three sets of footnote.   On the lower left he writes "38" which stands for the year he has created it and his signature of initials, "JTG".  Also, on the lower right of the canvas he writes AAC to identify his membership in Asociacion de Arte Constructivo, for he has founded the group.  Lastly, he includes "ENE1" in the lower center, which is an abbreviation of Enero 1 (January 1).  Interestingly, he states that this artwork is the first work of the year.
This painting is one of many in the series of his empty gridded creations.  He has continued this in 1935 and continued into the 1940s where he would refer to Incas stone works through a figurative connection of its social and cultural concepts.  The grid would trigger conversations of the role abstraction has in his style.  He plays with light and shadow to develop the effect of modeling.  In this case, he creates a three dimensional view on a canvas.  Because Torres-Garcia painted on paper and then mounted it on a wooden canvas, he draws viewers attention to the surface and has them realize that he has created an interlinked stonewall.
Universal Constructivism