The created work is, within concrete art, an event on a wall. Otherwise, it would constitute an anecdote against a background. A wall should be nothing but a wall". With the open structure in the architectonic space or in the colored field, the fracture of the peripheric confinement of the work of art takes place. But, Lozza wanted to be understood, where do the shapes of concrete art come from, if they do not respond to the already known and deforming? Is it either pure subjectivism, onirism or consistent geometricism? 
"Painting, he answered, must have its own shape like any other object. This means that the specificity of the open structure, by suppressing the concept of composition of parts coming from other sources developed beforehand, allows the creation of the shape itself of concrete painting. This is the relationship that differs from the well-known structuralist doctrine that makes no difference between cats and dogs". Lozza combines all these factors by means of one 

tool: the number. In order to establish in its minutest details that which the human eye cannot define by itself, he elaborated, in  1948, what he called the qualimetry of the plane shape. This enabled him to adjust the difference between one shape and the other, and the color corresponding to each shape, always in relation to the colored field. He measured the length, vertex and adjustment of angles and he managed to verify the joyful combination between quantity and quality, the color relationship between each plane shape and the colored field and its alteration through the movement of the structure. The equations would indicate what color each shape should have, and how that color changed when the wall was of a different color. The plane shapes on the wall showed a different harmony, a beauty that can only be appreciated when we attempt to escape from the confinement of old traditions as soon as we are in touch with the work of art. In those days, and even today, very few do this exercise: it is a limitation. 
However, the worst happens when a work is accepted hypocritically out of snobbery: they believe that not understanding it would make others consider them ignorant people. Without any doubt, such hypocrisy has contributed to the existence of a large number of "critics" who, using farfetched terminology, praise concrete painting, without understanding its essence. In consequence, they make no contribution to the diffusion of this form of art. Besides, this hypocrisy caused concrete art to turn into good business for certain traders when, in fact, the movement had developed as a participatory expression with a view to changing a system. "There exists no relationship whatsoever between qualimetry and painting, the first one is an independent science," Raúl Lozza explained to me when I made inquiries in order to write this chapter. "I used it," he added, "as a tool of adjustment of the artistic creation,