of the aesthetic object is no longer a rigid, abstract and purist norm, apart from the supposed content, to involve a whole attitude and process of creative conscience.  For that reason, it is not the shelter of painting in a geometrical and mathematical idealism, but the integration to its historical reality and to the unequivocal, unmistakable nature of its social function, as a revolutionary act and as a dialectic process of the material elements of creation. Perceptivism is not improvised art or the result of imagination but of knowledge, since image is also an object, whose plastic objectification would mean a representation. Surpassing any prehistoric references. The new painting establishes itself both against academicism and the new neo-realistic academics. 
Against the platonic purism that emphasizes the superficiality and improvisation of metaphysical painting 

wrongly based on geometrical and mathematical elements. 
Against the snobs that gather together like parasites around  the paranoid, intimist and conventional art that sustains them. Against all remnants of individualistic interpretation, whose  visible result of mediocrity and decay determines the end of the  representative era.
Painting, like any other form of art, must abide by the structure, which can no longer be reduced to the superficial conditioning of images or signs, but must constitute the product itself of a process, that of the visible matter, known in practice as reality. Attitude alone in art is a paradox. It is detached from all transformation, from all revolution in the practical field of creation and artistic invention because it lacks objective structure. In the spiritual activity, attitude alone constitutes a sophism: it shows the impotence of the intellectual that shrinks from assuming a concrete position in a socially revolutionary environment. 
Thus, perceptivism appears as the highest and most advanced stage of painting. It inaugurates a new era in art, and differs from the rest of the abstract and concrete schools in the fundamental fact that it has accomplished for the first time the reality of plane-color, a new concept of structure consubstantiated with the practical process of the visible means of creation, and the solution of the conflict between shape and content, the essence of representative art and the nightmare of abstract art".