La salida de Laureano. In the 1950s, her work will be increasingly filled with current references that will cover political and social criticism with greater intensity. While accompanying and she takes care of her father, she produces numerous ceramic pieces and painted tiles to decorate the baseboards and walls of her residence. Her father dies in 1949, which meant a great loss for Débora. She travels to Europe for the first time in 1954 and stays there for about two years, established in a pension in Madrid. She studies drawing with human figure in movement and mural painting at the Academy of San Fernando. Visiting the Prado Museum frequently, where she is especially interested in Goya. In February 1955 she opened an exhibition with thirty works at the Institute of Hispanic Culture, which was closed the next day by order of the Spanish Francoist government, which produced one of the greatest frustrations of her life. After a tour of several European countries she returned to Colombia. In 1955 she exhibited her ceramics at the Centro Colombo Americano de Medellín. Two years later she exhibited 37 paintings in the Marian Congregation, which she had to hastily pick up, since the popular demonstrations for the fall of General Rojas Pinilla made her fear for the fate of her work. In 1959 she traveled to England for two years in the company of a niece. She studied ceramics and painted numerous portraits, she also traveled to Scotland, France and Austria. She exhibited several of her ceramics in 1960 in a collective exhibition at the Museum of Zea and in the following fifteen years, abandoning all public participation and did not take up the brush again. She was on the list of her dearest relatives. She was then 53 years old. Isolation (mid 60's-2005) Away from the artistic medium, Débora locked herself for a long period in her house-workshop called "Casablanca", where she elaborated skirting boards, tiles and murals in baked ceramics. The Public Library Pilot of Medellín opened in 1975 an exhibition with one hundred works of the artist, event that did not receive major attention on the part of the press, but that was the occasion for many of discovering the pictorial work of Débora Arango. Excited by the exhibition, she returned to paint for about two years, producing some satirical oils and numerous watercolors of bathers, couples, women in different situations,