When they received news of Adolf Hitler's election to the German Chancellorship, they decided to remain in Colombia, where her father founded a small textile factory.

[2] Bursztyn's father managed a prosperous textile factory and the family rose to the elite ranks of industrialists in a nation that underwent a swift process of modernisation.

In their confrontations with dominant power structures in Colombia that sought to control class and gender relations and morality, Bursztyn's work exposed modernity's dark side, coloniality.

On the contrary, she used it as a medium for politicized content relating to women's rights in a post-colonial society, revealing the troublesome face of modernization while putting forth a critique of authoritarian rule.

[16] In 1961, Bursztyn unveiled her first eleven chatarras, relatively simple and flat compositions of rustic mechanical fragments such as wheels hoops, nuts, bolts, spark plugs, gears, wires, etc.

[17] Bursztyn's first sculptures (Chatarras – assemblages) were made of junkyard scraps – discarded fragments of machines, tires, cables, bolts and other metal bits.

Hers was an undaunted critique of industrialism and ensuing rise of consumerism, and it wasn't welcomed with open arms by the nation's art institutions and critics, who generally believed that artists should be supportive of Colombia's progress.

She attached a small electrical motor to the long, spiraling strips of aluminum, which came together as abstract forms set into a noisy, vibrating motion that were experienced by the viewer through several senses at once.

[18] In 1969, the series paired with the film Hoy Felisa by experimental director Luis Ernesto Arocha, which, in turn, featured the mobile forms of Las histéricas woven through with the images of pop culture idols like Bette Davis and Marlon Brando.

In Las camas, 1974, she took 13 beds and in each of them she placed an enigmatic form covered in multi-coloured fabrics, along with an electric motor that set the entire piece in a vibrating motion.

If we take into account the events that led to Bursztyn's exile, each character under the Baila fabrics was a hint of what would happen during those years with many Colombians blindfolded and interrogated, subjected to an absurd and endless mechanism.