In this specific artwork, Torres-Garcia intertwines Pre-Columbian elements, for he respected ancient artistry and cultural differences.
 Additionally, he manages to paint symbols that has been bought up by the Freemasonry.
 To dig deeper into this, he had visited a Masonic Lodge with Luis Fernández (painter) in Paris.
 As he studied the place he admired how the Masonry associated symbols with architectures that represent sacred beliefs.
 He displays subjects such as elements of Pre-Colombia, freemasonry symbolism, objects relating to contemporary life, and incorporates guidelines.
 The purpose of this art piece is to rebuild the relationship between artist and viewers through a geometric art tradition with the thought of going back to early human civilization.

To begin, he refers to a stone grey background.
 Torres-Garcia specifies endurance and recollects the ancient monuments located in South America.
 On the surface he displays a pictogram of a radiating sun.
 It is often presented in his artworks which suggests admiration for the Inca city.
 Next he shows a black grid that holds organic structure that is irregular and varied.
 On the grid, he displays pictograms that are filled with a variety of shapes.
 Performing this in all his work was ritualistic.

The specific symbols that he use suggests constructive power of man and God.
 For example, on of his creations comes from antiquity which is the architectural structures; presented in the painting is the aqueduct and triumphal arch in the center.
 Additionally, he uses a builders tool such as a hammer which is located in the top right corner of this artwork.
 The use of the number "5" and a pentagon relates to the mundane and spiritual world.
 Uniquely, the implication of "Montevideo" is not only presented because that is where Torre-Garcia is from, but to show the admiration of the shape of the word.
 The cross with the "N" represents Torres-Garcia's return to Uruguay  from his travels in 1934.
 Also, he wanted make Montevideo a major art center because this represented his goal to change the direction of the art world with South America striving for ascendancy.
 Lastly, it marks a time that Torres-Garcia recommitted himself to study and proclamation of Constructive Universalism.
In this specific artwork, Torres-Garcia intertwines Pre-Columbian elements, for he respected ancient artistry and cultural differences.  Additionally, he manages to paint symbols that has been bought up by the Freemasonry.  To dig deeper into this, he had visited a Masonic Lodge with Luis Fernández (painter) in Paris.  As he studied the place he admired how the Masonry associated symbols with architectures that represent sacred beliefs.  He displays subjects such as elements of Pre-Colombia, freemasonry symbolism, objects relating to contemporary life, and incorporates guidelines.  The purpose of this art piece is to rebuild the relationship between artist and viewers through a geometric art tradition with the thought of going back to early human civilization. 
To begin, he refers to a stone grey background.  Torres-Garcia specifies endurance and recollects the ancient monuments located in South America.  On the surface he displays a pictogram of a radiating sun.  It is often presented in his artworks which suggests admiration for the Inca city.  Next he shows a black grid that holds organic structure that is irregular and varied.  On the grid, he displays pictograms that are filled with a variety of shapes.  Performing this in all his work was ritualistic.
The specific symbols that he use suggests constructive power of man and God.  For example, on of his creations comes from antiquity which is the architectural structures; presented in the painting is the aqueduct and triumphal arch in the center.  Additionally, he uses a builders tool such as a hammer which is located in the top right corner of this artwork.  The use of the number "5" and a pentagon relates to the mundane and spiritual world.  Uniquely, the implication of "Montevideo" is not only presented because that is where Torre-Garcia is from, but to show the admiration of the shape of the word.  The cross with the "N" represents Torres-Garcia's return to Uruguay  from his travels in 1934.  Also, he wanted make Montevideo a major art center because this represented his goal to change the direction of the art world with South America striving for ascendancy.  Lastly, it marks a time that Torres-Garcia recommitted himself to study and proclamation of Constructive Universalism.
Universal Constructivism