The work of Ofelia Echagüe Vera marked the beginning of a new period that changed the role of women in Paraguayan plastic arts.

[1][2] Ofelia Echagüe began studying in her home city of Asunción with Héctor Da Ponte, Modesto Delgado Rodas, Pablo Alborno, and Adán Kunos.

[3][1][2][4][a] In the 1950s, Echagüe further collaborated with Livio Abramo, a Brazilian artist from Paraguay, and together they developed the technique of woodcut prints, an intricate and complicated art form.

Ticio Escobar also notes, “however her robust personality is structured in careful compositions and meditations that denounce the influence of  post impressionism in the River Plate Region, and an unquestionable amount of significant related works to the existential problem of the man; Always at the bottom of loneliness and depression in half-empty environments invaded by cruel light, a feeling of isolation between his women of tough bodies and missing faces.”[6] Ofelia Echagüe participated in an important collective exhibition of Paraguayan plastic artists, which marked a turning point for a new period that changes the role of women in the Paraguayan plastic arts.

From this perspective through her work, Ofelia Echagüe changes into an authentic precursor because it breaks the schematics of the excessively modest puritanism in that Paraguayan art period.