Like art itself, art history is abstract, complex and has many metaphoric, philosophical and physical layers.

While we are raised learning about the artistic pioneers of different eras across the globe, there have been many artists whose creativity has been overshadowed because of their place in society, gender or sexual orientation.

So rather than accept being robbed of real truths excluded in text books, why not revisit art history, revise it and reinvent it? Well, the Instituto de Visión in Bogotá, Colombia, whose artists are participating in Art Basel Miami Beach this year, is doing just that, and its artists are putting their spin on a "historic revision."

"Instituto de Visión works with Latin American young and more established artists and we are very excited in our first participation at Art Basel Miami Beach in two sections: Nova and Film," Magdalena Arellano of the Instituto de Visión in Bogotá, Colombia, told Latin Post.

"At Nova, we exhibit 'Telar' an extraordinary and bucolic installation about the oficio, technology, time and process. It is a long-time investigation, since 2011, of the Mexican artist Tania Candiani," she said. "At Film sector, the curator David Gryn has selected works by Ana Roldán (México, 1974), Ana María Millán (Colombia, 1974) Carlos Motta (Colombia, 1978) and Pía Camil (México, 1980)."

Instituto de Visión, "a space for research, experimentation and exchange between local and international artists, markets, and cultural agents," is reinventing the artistic wheel and sharing its exploration with Miami.

"Our program is focused on conceptual practices that propose micro-revolutions, original perspectives and personal ecosystems inserted into a specific context. The poetics that inspire us originate in interchange, tropicality, decoding, cotidianity, archives and historic revision," according to its official website.

"Through the program Visionarios, Instituto de Vision aims at revisiting the history of Colombian art to give a deserved position to artists who remained, despite their challenging and committed posture, alienated from the academic/official recount of our Art History."

What artists can be seen at Art Basel Miami Beach 2014?

Carlos Motta (Colombia)

"Carlos Motta is a multi-disciplinary artist whose work draws upon political history in an attempt to create counter narratives that recognize suppressed histories, communities, and identities," according to his official bio. (His work was recently included in Under the Sun: Art from Latin America Today at the Guggenheim Museum, New York.)

"Motta's 'Naufragios' (Shipwreck) is a fictional adaptation by Carlos Motta of 'Misadventures of a Sodomite Exiled in 17th Century Bahia,' a text by Brazilian anthropologist, historian and gay rights activist Luiz Mott that documents the unfortunate story of a Portuguese man called Luiz Delgado, whose life was defined by innumerable confrontations with the inquisitorial system."

(Daily Dec. 3-7 at the Art Basel Film Library.)

Ana Roldán (México)

"Ana Roldan draws on different cultures for her works, referring to cult and leadership-related objects, to architecture and design, to folk art, art and the art scene itself," according to her official bio. "Many of her objects and sculptures evoke familiar items like chairs, vases or archaic weapons. They remind us of commonplace things or things from previous eras, usually without their function being actually revealed."

Roldán will show "construction concerned with the relationship between dissimilar emotional values in a composition with black and white."

"A woman of Japanese descent practices the Chinese martial arts Mízōngyì in a spartan setting. We hear a female voice, singing the word Popocatépetl to a famous Mexican folk song and playfully scrutinizes the pathetic national tune. Roldán confronts these two takes on tradition and establishes a dialogue between the two ancient cultures of China and Aztecs."

(Saturday, Dec. 6 from 8-9 p.m. | Short Film program, Soundscape Park, 500 17th St., Miami Beach)

Pia Camil (México)

"Through her work Pia Camil has shown a proclivity to failure or the decaying associated to the Mexican urban landscape, aspects of modernist culture and traces of art history," according to her official bio. "Her practice has explored the urban ruin -- including paintings and photographs of halted projects along Mexico's highways (highway follies); abandoned billboards that become theatre-like curtains therefore theatricalizing failed capitalist strategies (espectaculares), or the problems and contradictions that arise when engaging with iconic art works (No A trio A or Cuadrado Negro)."

Camil will show "'Tlatelolco,' a shot of the main square 'La plaza de las tres culturas' as seen from a sniper's perspective. Superimposed to the image of the passing people, there are eight horizontal stripes that correspond to those of a percussion staff. The random crossing of the passerby becomes an improvised set of sounds that remind us the '68 student massacre."

(Daily Dec. 3-7 at the Art Basel Film Library.)

Ana María Millán (Colombia)

"My work locates a personal and acrimonious voice in the narrative spaces of video in relation to subcultures, ideas of violence and exclusion discourses," according to her official bio. "I speak from amateur culture, its mistakes and its possibilities, local groups, black holes in history, fragments of information, dysfunctional structures, and the tense relation between the official and the marginal, and the feminine and the masculine."

Millán's (collaboration with Eduardo Carvajal) "La pieza ensayo" (The Rehearsal Piece) "is based on findings of castings and rehearsals tapes made in 1979 for the movie 'Aquel 19 (That 19)' by Carlos Mayolo, main director of the so-called 'Caliwood' movement and the Tropical Goth aesthetics. Millán reconstructed some scenes from the movie with Carvajal who was the cameraman and the casting director of Mayolo's films."

(Daily Dec. 3-7 at the Art Basel Film Library.)

Tania Candiani (México)

"My research processes take as starting point language, text, the political implications of the domestic, of what is public and private, and of 'the others," according to her official bio.

"Translate strategies amongst systems -- linguistic, visual, phonic -- and practices, generates equivalences and associations, where there is a constant nostalgia for the obsolete, that makes me consider the discursive content of artifacts and on the former projections of future. In this quest, I have gathered interdisciplinary work teams that contribute from their diverse knowledge fields and specific skills to archive poetic intersections amongst art and technology."

"Textiles have been present in my work as tailoring, as a narrative resource and as labor, socially embedded with meaning. Tailoring as design is a contact point with architecture, where the space distribution of the plans as sewing patterns re-signifying the idea of inhabited space or the utopia of an space that could be inhabited."

In Candiani's "'Telar, the first punch cards used as code came from looms that Joseph-Marie Jacquard developed at the beginning of the nineteenth century. The cards guided loom movement as a means of weaving pre-determined patterns. It was the beginning of what would become digital programming; this was the first time that information translated into perforations could afterwards be 'read or interpreted' by a machine."