Portrait of Nadín Ospina's great-great-grandparents posing with their children in Bogotá around 1900. This image was found by the artist in the mid-1970s in his paternal grandmother's house amidst a clutter of dusty, crumpled junk. Hidden and securely tied with thick twine inside a mysterious package as if to hide evidence of something undesirable. The image captures the pater familias, a man of German origin whose parents arrived from Europe to rural Colombia under mysterious circumstances in the mid-19th century. The character's features are evidently Caucasian and his attitude clearly patriarchal. At his side and in the center of the group, his wife, seated with a certain attitude of submission, not without the dignity of a matron, undoubtedly shows markedly indigenous features in her physical appearance and in her ancestral ritual pose. This fortuitous encounter meant for the child a kind of revelation that confronted him with his cultural reality and his identity, since in his family racial purity was always exalted and the European physical model was privileged as a desirable and noble attribute as opposed to the native physiognomic characteristics considered ugly and vulgar. This circumstance becomes the motive and theme of the subsequent development of all his work, which deals with miscegenation as a cultural problem and a motive for reflection and criticism on factors of social and historical tension.

Esta pieza basada en la imagen de la familia del artista, remarca y reafirma desposeyendo de ocultamientos la condición mestiza de los personajes que son tridimensionalizados en una pieza en la que de un modo algo brutal se decapita a los circunspectos y altivos protagonistas para reemplazar sus cabezas por imágenes de diversas culturas prehispánicas de Colombia; como la cultura Muisca, San Agustín, Quimbaya o Tumaco. Con esta operación radical se ironiza sobre las identidades veladas y el ocultamiento de la filiación racial.