The Quiet Room at Museo La Tertulia: A Walk Through the New Permanent Hang

I’m standing in the main gallery of Museo La Tertulia, the afternoon light softening the edges of a large canvas by Omar Rayo. The air is cool, carrying the faint scent of old paper and polished wood, a familiar comfort from my childhood spent roaming these halls. This space, which has shaped so much of my understanding of art, feels both new and deeply familiar with the museum’s recently unveiled permanent collection rehang.

It’s a quiet Tuesday, and the room is dense with a sense of contemplation. The curatorial team, I gather, has re-envisioned the narrative of Colombian and Latin American modern art, placing a renewed emphasis on the artists who forged the visual language of our region. I’m here to experience this shift, to see how the stories I thought I knew are being told anew, inviting both long-time patrons and first-time visitors to connect with these powerful works.

What’s changed in the permanent collection (and who curated the rehang)?

The most striking change in La Tertulia’s permanent collection is not just a rearrangement of beloved pieces, but a fundamental re-evaluation of how art history is presented. The museum, a cornerstone of Cali's cultural landscape since its founding in the 1950s, has always championed modern and contemporary art from the Pacific region and beyond.

This rehang, undertaken by the museum's curatorial department, led by its director, aims to deepen our understanding of these works within their historical and social contexts. The goal, as I understand it, is to offer fresh perspectives, highlighting overlooked connections and giving voice to narratives that might have been less prominent in previous installations.

I notice immediately how the flow of the galleries feels more intuitive, guiding me through distinct periods and movements without feeling didactic. There’s a deliberate pacing, allowing each artwork space to breathe and engage the viewer in its own right, before moving on to the next chapter in this visual story.

The rehang emphasizes thematic groupings over strict chronological order in certain sections, creating dialogues between artists from different decades who grappled with similar ideas. This approach encourages a more dynamic engagement, prompting visitors to draw their own conclusions about the evolution of artistic thought in the region.

For instance, I see works from the 1960s placed in conversation with pieces from the 1980s, revealing unexpected continuities in explorations of abstraction or social commentary. It’s a subtle but powerful curatorial choice that makes the experience feel less like a lesson and more like a discovery.

The museum’s commitment to accessibility is evident in the accompanying texts, which are clear, concise, and provide ample context without resorting to academic jargon. They invite everyone, from seasoned art enthusiasts to those new to the museum, to delve into the rich stories behind each canvas and sculpture.

This intentionality speaks to the very mission of La Tertulia: to be a public space for cultural engagement, reflecting the vibrant spirit of Cali itself. It’s a place where art truly is for everyone, regardless of their background or prior knowledge.

Three works I keep coming back to

As I move through the galleries, certain works invariably draw me in, demanding more than a passing glance. These are the pieces that resonate deeply, offering new insights with each visit, and they feel particularly potent in their new settings.

First, there’s *Enrique Grau’s La Mulata Cartagenera*** (1969, oil on canvas). She sits with an undeniable presence, her gaze direct, a slight smirk playing on her lips. Grau, born in Cartagena in 1920, was a master of portraiture and still life, known for his theatrical compositions and rich color palettes.

In this piece, the vibrant yellows and blues of her dress contrast sharply with her dark skin, making her almost glow from within. I’m struck by the way Grau captures a certain defiance, a quiet power in her posture. She isn't just a subject; she is an active participant in her own representation, challenging the viewer to meet her gaze.

The lighting in this section of the gallery seems to enhance the painting’s luminosity, making the colors pop against the soft gray walls. It feels like a spotlight on a stage, perfectly framing her enduring allure. This work reminds me of the strength and beauty of Afro-Colombian women, a constant source of inspiration in our culture.

Next, I find myself captivated by *Edgar Negret’s Nave Espacial*** (1970, aluminum). Negret, a Popayán-born sculptor (1920–2012) who spent significant time in New York and Paris, was a pioneer of abstract metal sculpture in Colombia. His work often explores themes of industrialization and the cosmos, creating forms that feel both architectural and organic.

This particular sculpture, with its interlocking geometric planes and polished surfaces, evokes a sense of futuristic movement. It sits on a pedestal, catching the light in a way that makes it seem almost weightless, ready to ascend. I walk around it slowly, observing how the angles shift and change with every step, revealing new facets and shadows.

The pintura matérica — work where the texture of the paint is part of the meaning — that I often see in other artists' works is replaced here by the cold, precise language of metal. Yet, there’s an undeniable warmth to the piece, a human ingenuity that speaks to our timeless fascination with flight and exploration. It’s a testament to Negret’s ability to imbue industrial materials with profound artistic expression.

Finally, I linger before *María Teresa Hincapié’s Una cosa es una cosa*** (1990, photographic documentation of performance). Hincapié (1956–2008), a performance artist from Armenia, Colombia, challenged conventional notions of art through her durational and often minimalist actions. This series of photographs documents her iconic performance where she meticulously moved everyday objects across a space, declaring “a thing is a thing.”

The images, stark and powerful, capture the intensity and focus of her process. I’m drawn to the quiet rebellion in her work, the way she elevates the mundane to the sacred through ritual and repetition. It’s a profound meditation on presence, labor, and the intrinsic value of objects.

Seeing this documentation in the context of the museum's modern collection highlights the evolving definition of art itself. Hincapié pushed boundaries, inviting us to consider performance as a valid and vital artistic medium. Her work remains incredibly relevant, urging us to find meaning in the everyday and to be fully present in our own lives.

The Caleño modernists you might not know yet

While the permanent collection features many national luminaries, the rehang does an excellent job of spotlighting artists with deep roots in Cali and the Pacific region. These are the modernists who helped define the visual identity of our city, often working against the grain of established art centers.

One artist who deserves more recognition is Hernando Tejada (1924–1998), a true Caleño spirit. Tejada’s work, often whimsical and surreal, is instantly recognizable for its vibrant colors and fantastical creatures. He moved between painting, sculpture, and drawing, always with a playful sensibility that belied a profound understanding of human nature.

I’m particularly drawn to his series of Duendes, or goblins, which often appear in his paintings and small sculptures. These mischievous figures, rooted in local folklore, are a testament to Tejada’s ability to weave the magical realism of our culture into fine art. His contribution to the local art scene, including his murals and public sculptures, helped shape Cali’s artistic identity.

Another essential figure is Lucy Tejada (1920–2011), Hernando’s cousin, whose powerful abstract and semi-abstract works are a revelation. Lucy Tejada, born in Pereira but deeply connected to Cali, explored themes of maternity, nature, and the human condition with intense emotional depth. Her use of color and line creates dynamic compositions that feel both raw and refined.

Her canvases often feature swirling forms and rich textures, drawing the viewer into a world of introspection and feeling. She was a prolific artist, and her legacy is crucial for understanding the development of abstract art in Colombia, particularly from a female perspective during a time when women artists often faced significant hurdles.

I also want to highlight Ever Astudillo (1948–2015), a Caleño artist whose delicate yet powerful drawings and prints capture the essence of urban life in Cali. Astudillo’s black and white works often depict solitary figures, street scenes, and architectural details, imbued with a sense of melancholy and quiet observation.

His mastery of chiaroscuro, the dramatic contrast between light and shadow, brings a poetic quality to his depictions of everyday life. Astudillo’s work is a poignant record of Cali’s urban landscape and its inhabitants, offering a window into the soul of the city during the latter half of the 20th century. Seeing his precise lines and subtle gradations of tone reminds me of the beauty found in the overlooked corners of our city.

These artists, among others in the collection, demonstrate the breadth and depth of Cali’s contribution to modern art. They remind me that our city is not just a hub of salsa and vibrant life, but also a fertile ground for artistic innovation and profound cultural expression. Exploring their works is like finding hidden treasures in a familiar landscape.

How to spend an hour, an afternoon, or a slow Sunday at La Tertulia

Museo La Tertulia is more than just a place to see art; it’s an experience, a sprawling cultural complex nestled beside the Cali River in the charming San Antonio neighborhood. How you choose to explore it depends entirely on your time and mood.

If you have just an hour, I recommend focusing on the main building where the permanent collection is housed. Allow yourself to wander through the rehang, picking out a few pieces that call to you and spending quality time with them. Don't rush; let the art speak. The layout is designed to be inviting, even for a quick visit.

Afterward, take a quick stroll through the sculpture garden. It’s a beautiful outdoor space, often featuring contemporary installations that change periodically. The lush greenery and the sound of the river provide a refreshing contrast to the indoor galleries, making it a perfect quick escape.

For an afternoon visit, you can delve much deeper. Start with the permanent collection, but then explore the temporary exhibition spaces, which often feature cutting-edge contemporary art from Colombia and beyond. These shows are always thought-provoking and offer a glimpse into current artistic trends.

Don't forget to visit the Cinemateca, the museum’s cinema, which screens independent films and classic cinema. Check their schedule for matinee showings; it's a wonderful way to immerse yourself further in cultural offerings. You can also grab a coffee or a light snack at the museum's café, enjoying the view of the river.

A slow Sunday at La Tertulia is a true Cali luxury. I love to arrive early, before the crowds, and take my time with every gallery. After exploring the permanent collection and any temporary exhibitions, I might attend a special event – perhaps a guided tour, an artist talk, or a workshop, which are often scheduled on weekends. The museum is a vibrant hub for culture and events.

I’ll spend ample time in the Cinemateca, watching a film or two, and then settle down for a leisurely lunch at the café. The grounds themselves are perfect for a relaxed afternoon, walking along the river, or simply sitting on a bench and soaking in the atmosphere. It’s a place where time seems to slow down, allowing for deep engagement and genuine relaxation.

Consider bringing a sketchbook or a journal; the serene environment is incredibly inspiring. The museum also has a gift shop with unique art books, local crafts, and souvenirs, perfect for finding a special memento of your visit. A slow Sunday here is an ideal way to connect with Cali's artistic soul.

The Enduring Heart of Cali’s Art Scene

La Tertulia has always been more than just a museum; it is a living institution, deeply woven into the fabric of Cali’s identity. Its history, stretching back to the mid-20th century, mirrors the city’s own artistic awakening and its continuous embrace of new ideas.

Originally founded by a group of intellectuals and artists who sought to create a space for cultural dialogue, La Tertulia quickly became a beacon for modern art in Colombia. It hosted the Bienal Americana de Artes Gráficas (American Biennial of Graphic Arts) for many years, attracting international attention and solidifying its reputation as a significant cultural force.

This new permanent hang, while a fresh interpretation, remains true to that founding spirit. It continues to tell the stories of artists who dared to innovate, who reflected their times, and who shaped the visual consciousness of a nation. It invites us all to participate in this ongoing dialogue, to find our own connections within these powerful narratives.

As I leave the museum, walking out into the late afternoon sun, I feel a renewed sense of appreciation for this place. It’s a testament to the enduring power of art to educate, to inspire, and to connect us to something larger than ourselves. La Tertulia continues to fill its rooms, not just with art, but with curiosity, wonder, and the vibrant spirit of Cali.

Practical: hours, free days, accessibility, getting there

Address: Avenida Colombia #5-105 Oeste, Cali, Valle del Cauca

Opening Hours:

• Tuesday to Saturday: 10:00 AM – 6:00 PM
• Sunday: 11:00 AM – 5:00 PM
• Closed on Mondays

Ticket Price: General admission is typically around COP 10,000–20,000. Students and seniors often receive discounts. Check the museum's official website or box office for current pricing.

Free Days/Hours: La Tertulia occasionally offers free admission days or extended free hours for specific events. It's always a good idea to check their upcoming events in Cali calendar or social media channels for these opportunities.

Accessibility: The museum strives to be accessible to all visitors. The main exhibition halls are generally wheelchair-friendly, and there are elevators available for access to different levels. Specific accessibility details can be confirmed directly with the museum prior to your visit.

Getting There:

• By Public Transport: The MIO (Masivo Integrado de Occidente) bus system has stops within walking distance. Look for routes that pass along Avenida Colombia or near the San Antonio neighborhood.
• By Taxi/Ride-share: Taxis and ride-sharing services are readily available throughout Cali and can drop you directly at the museum entrance.
• Walking: If you are staying in the nearby San Antonio, Granada, or El Peñón neighborhoods, La Tertulia is a pleasant walk along the Cali River. It’s a beautiful way to approach the museum, taking in the city’s vibrant atmosphere along the way.

Google Maps Link: Museo La Tertulia