César Manrique formulated his artistic proposals in the plastic language of his times. Whilst in painting he faithfully pursued informalism, his largely spatially-oriented sculptures and objects have undisputed pop art, kinetic art or new sculpture leanings. On his return to Lanzarote in the late nineteen sixties he found the appropriate setting for opening his artistic endeavour to new initiatives. There, he devoted much of his creative energy to embodying his new aesthetic ideal in works for his spatial interventions.