This paper analyzes the issue of visuality in Lorenzo Garcia Vega's poetry, focusing on its relationships to visual arts. As I show, the visuality of Garcia Vega's poetry often presents itself under the form of painting hypothesis, i.e., the narration of conjectural paintings. Such narrated paintings--frequently unfinished--aim to bring to the mind of the reader the immediacy and concreteness of what the poet-painter observes, but also that of what he imagines. In this sense, I argue that Garcia Vega's poetry shares with certain avant-garde tendencies their non-representational character, interpreting his focus on the most concrete aspects of our visual field--such as geometrical forms and colors--as a strategy to evade fiction. [ABSTRACT FROM AUTHOR]