Arturo Quintero anchors the foundations of his work in Geometry as a source for a beginning. Thus, he provides the first visual synthesis of the universe and defines the primary characters of its structure: Geometry as a mother tongue and an original alphabet. Following rigorous research, he has integrated mathematical precision and perfect operational skills with organic quality, intuition and poetic flow. Quintero informs, deforms, fractures, constructs and deconstructs form, opening alternative spaces for a visual understanding of our surroundings. His plastic field of action is subject to geometry but not making it a place for fixed and constant relations, but a place for infinite transformations. A tour of his work allows for understanding important starting points in experiences prior to his creation, such as the work of Escher, Op Art, the impossible figures of Iturralde and Penrose, the intricate spaces of Piranesi or the solids as conceived by Archimedes, Plato and Wenninger. He makes use of these tools as means of aesthetic, symbolic and conceptual activation and in order to make us enter an unexpected field of relations between forms and structures. He concentrates in the essential geometric relations in order to bust the fixed plan and to incorporate diverse materials and uncommon objects where, also, motion is incorporated and a new discourse is assembled. His work has followed a pattern of evolution by series so as to face key problems in geometry using materials that allow for an enrichment of appreciation. Thus, we have seen the emergence of kaleidoscopes and geometrical bas-reliefs, origami, fractured webs or vibrations and movements obtained with the use of common everyday coins. Appearances change, directions cross, structures throb constantly, and all this allows us to access subtly complex perceptual moods whose rhythms and tensions refer to the essential reality of the universe. Here, light, color and motion share life with the milimetrical calculations of mathematical thought. These propositions thus, increase the potential of the poetic frame of mind in the series Art Lab, the most recent, where Arturo uses elements of glass plaques from medical laboratory analysis (test tubes, Petri plates, slide covers, capillary tubes) and places them symmetrically in order to design rotation axes and round motions that contribute to develop and generate unexpected shapes that seem as if they had been hidden. The effects obtained with the use of these materials considerably increases the strength of the pieces and the absence of color also increases the transparency and lightness of the shadows and lights interplay. The vibration is infinitely suggestive and it insinuates a formal pattern that did not exist previously in his work: The image of the boiling point, the sequences of order and chaos that reconsider the patterns of Euclidean geometry change permanently in their positions. The visual situation thus produced is extremely interesting and very attractive: Twinkling, light, wave-like. Art Lab accelerates the visual process with an impulse that seems inextinguishable. It activates the creation of infinite universes in permanent transformation. In spite of the objects being fixed, anchored at the base of the piece, the movement of the spectator as he walks and the energy that the piece generates with those small light beams that explode out of the wooden box and fracture space, make for this impulse that seems to have no end. This is a long term research effort with unending developments to come. Quintero multiplies de paths and the inexhaustible power of geometry. His work stimulates us immensely if we think, only, of all that remains to be explored.