Medellín published an eulogistic article about the painter with several illustrations, half of which were nudes. The publication, of an official nature, considered that Arango was the "maximum exponent of our pictorial art". In the same issue a formal greeting appeared to the newly possessed Monsignor Joaquín García Benítez. Outraged by the neighborhood with the painter and the nudes, the prelate asked to pick up the edition and a strong debate took place in the City Council. Again the conservative press attacked the painter and the magazine, which was described as "unclean publication." Of the artist it was said that "it is pleased to spread to the winds the corrupting and inelegant morbidness of lubricity". During this year she painted a series of watercolors that reveal the full adoption of the social theme. In 1944 she is part of the group of "Independent Artists" and participates in the National Art Exhibition of Medellín. The following year, she moved to live with her father and younger siblings in Casablanca, the home of her grandparents raised in the mid-nineteenth century. These years were the most prolific of all life, both for the quantity and the quality of the work she did. In 1946, she traveled accompanied by her younger sister, Elvira, to the United States and then to Mexico. She entered the National School of Fine Arts of Mexico. She learned the fresco technique and studied the work of Mexican muralists. None of her former teachers in Medellin wanted to give her a simple letter of recommendation. She packed some of her watercolors and when she showed them she was immediately accepted without further requirements. She returned to Medellín in 1947 because his father fell ill. Dedicating herself entirely to his care. New facet (1948- Mid 60's) In 1948 she was able to paint her only large mural commissioned by the Packaging Company, alluding to the collection of the fique. The same year she sent four pieces to an exhibition in Medellín, among which was Adolescencia, which was reason for the ladies of the Medellín League of Decency to complain about her work. She begins to dabble in a new facet, characterized by political satire, in which she interpreted different events and the climate of anxiety, violence and mortality of the moment. She uses zoological metaphors in her art to allude to political aspects, something that can be seen in her painting