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This article seeks to understand the way in which the cultural journeys of artists Eduardo Ramírez Villamizar, Edgar Negret, and Feliza Bursztyn to Paris after 1945 contributed to their dedication to art and to the configuration of modern art in Colombia. Analyzing their trajectories in the plastic arts, it presents the reasons that stimulated them to travel to Paris during a period in which New York was becoming a new world center of the arts. This research led to the conclusion that the time these Colombian artists spent in Paris after 1945 favored both the social acceptance of abstract art and the use of industrial and scrap materials as new plastic referents. It is thus a question of two significant events that led to a total renewal of modern art in Colombia

Historia de la escultura moderna y de los viajes culturales de artistas colombianos a París después de 1945