essential considerations to overcome the crisis that hampered the development towards concrete art. The great adventure of overcoming the crisis entailed finding the way to make a change of the structural system of painting, to "conquer a reality with truth", as he said. In consequence, the emotional and functional perception of the work of art had to be dissociated, and instead, the aesthetic object had to be introduced into the daily conflicts of life, with the concerns of change and the joys of man’s conquests.
There were four problems or issues to tackle in order to establish the basis of a new structure system, not applicable to visual arts, but to bi-dimensional aspects, to the experiences carried out on the plane, where illusionism and representation have appeared more clumsily. These changes should take place first in color; secondly, the "background" had to be replaced by a colored field or wall; thirdly, 

the structural laws of nature had to be included in the painting, and finally, a "qualimetry" of the plane shape had to be prepared. This was the beginning of the passionate research into color, which ended in a new theory that was displayed in a large unpublished book, written and permanently updated on grocery wrapping paper tidily cut. At that time, there were no plastic packs, the noodles, sugar, yerba mate or salt were wrapped up in white sulfite paper, which Lozza collected so that he could later on fill them with hand-written notes in pencil that he would finally pile up. That is why he pointed out that he had "two million unpublished hand-written pages". 
Until then, Lozza remarked, the artist resorted to color indiscriminately. Color was used "to be seen" and as an element subordinate to shapes in order to create the illusionist and alienating effect. According to the new theory, instead, there exists no vision of color without its limited extension in space. 
When Lozza was a teenager, a farmer had asked him to paint a room in the same shade of green as his cultivated field. That particular shade of green, out of that context, could not be reproduced inside the house because the "background", the colored field - had changed. This relationship phenomenon between shape and "background" was always present in Lozza’s mind and he would apply it when the study of color became prevalent on the flat extension, discarding the traditional resource of "harmonic" and "complementary" relationships in vogue. 
And Lozza would add: 
"The background does not exist. In my paintings a wall is just a wall. Its exaltation as such, and its neutralization as plastic active function, enables me to create the independent spatial plastic event and not the conformity of an event within another event