In 1965 Nicolás García Uriburu was awarded the Braque Prize by the French Embassy, which entitled him to spend a year in Paris. Uruburu remained there until 1982, living and working against the backdrop of a time of civil unrest in France. Known today as May 68, this period of political insurrection was initiated by far-left student occupation protests against capitalism, consumerism, American imperialism and institutionalism. Police brutality against protesters fostered building anti-authoritarianism amongst the youth. Uriburu’s social immersion amongst the radicalized youth culture was foundational in his development as an artist and activist, the germination of which is visible in his works from this period.

This era marked a significant juncture in Uriburu’s career. In 1967, he was invited to participate in the French pavilion in the Montreal International and Universal Exposition. Uriburu’s focus at this time centered on amplified explorations of nature, characterized by his bold and saturated color palette. His paintings often featured stylized depictions of botanical subjects like the trumpet vine, where vibrant colors exaggerated the vitality of nature. By 1968, Uriburu continued to explore themes of nature and environment with his exhibition “Prototypes of an Artificial Garden” at the Iris Clert Gallery in Paris. The exhibition showcased his blend of natural and artificial elements, demonstrating his ongoing dedication to environmental themes and his relationship to and use of color both in and outside of painting. Throughout his time in Paris in the late 1960s, Uriburu’s paintings served as early expressions of his ecological concerns, foreshadowing themes that would define his career. His work during this period remains emblematic of his enduring influence on the interchange between art and environmental activism.