Art is not amoral or immoral. Simply its orbit does not intercept any ethical postulate. " Along with the picture Annunciation of Carlos Correa, in the history of Colombian art there are no other works that have caused a controversy similar to that aroused by the nudes of Débora Arango, who at that time was 32 years old. Both eagerness in defense of morality on the part of conservative journalists and even Eladio Vélez himself, contrasts with the harsh reality that was lived in Medellin. On the occasion of the scandal, Débora was called by Father Miguel Giraldo, parish priest of the Church of San José, who advised her to remove the nudes and not continue painting them. It would not be the first or the last time that some religious authorities recalcitrant, tried to censor the painting of someone who had a deep religious sense and communion daily. The same day of the conversation with the priest, she learned sadly that the instigator of the episode had been Eladio Velez. The later nudes produced more scandal than any of the other paintings, in which Débora Arango showed more: violence, marginality, hunger and misery. She was invited in 1940 by the liberal Education Minister Jorge Eliécer Gaitán to exhibit his paintings in Bogotá. Regarding his inclination to "pagan expression," he said in an interview in the capital: "I have a calm, calm and analytical spirit. The phenomenon must probably arise from the emotional interpretation that others give me. It must be - I think so - that I see in all human faces passion and paganism. The Bogota newspaper El Siglo described the exhibition as a "challenge to good taste". She felt that the artist was "a young woman without artistic taste, who shows that she does not even have elementary notions of drawing and that she does not know the technique of watercolor". The anonymous columnist considered as of "extreme gravity" that the Ministry of Education sponsored the exhibition of the "artistic esperpentos", which he rejected as an indication of "laziness and inability". This same idea was the argument with which Laureano Gómez, in an aggressive press article, had disqualified three years earlier what was understood as expressionism. Unintentionally, the painter was taken again as a battle instrument between conservatives and liberals. The commotion for the work of Débora Arango was renewed in 1942, when the Municipal Magazine of