Antonio Caro (born 1950, Bogotá, Colombia) is a contemporary artist known for using conceptualizations and iconic visuals that often make political commentary about his home country. Since 1970, Caro has built a career that, according to the categorizations of history and criticism, denotes an authentic example of conceptual art in Colombia. Since then, Caro's work has proposed a critical eye on social and political conditions in his country, as to their academic and popularly understood historical connotations. Caro's work is achieved through the implementation of informal procedures in traditional artistic practice, including photocopying, public installations, lectures, posters, and materials related to indigenous cultural practices, such as salt or achiote. The vast majority of his work makes use of text as a tool to communicate strong messages, but instead acquires the paradoxical nuances of a political nature as a means of production and dissemination. One may classify Caro's art as politically charged pop art. In 1998, Caro received the prestigious Guggenheim Fellowship.
Some of his important works include: Sal (1971), Imperialism is a paper tiger (1972), "aquinocabeelarte" (art does not fit here) (1972), There is no case (1974), Colombia-Marlboro (1975), Colombia-Coca Cola (1977), Defend your talent (1977), "Todo está muy Caro" (Everything is too expensive) (1978), Homage to Manuel Quintin Lame (1979), Project 500 (1987), Onoto, among others.