The artistic activity of Ángel Luque, always developed in the field of geometric abstraction, runs through the cities of Madrid, Caracas and, from 1968, Paris where he was one of the Spaniards on the payroll of the mythical gallery Denise René, together with Francisco Sobrino and Team 57. During his stay in Madrid (1948-1955) he worked as a creative at the advertising agency 'La Universal' and participated in some group exhibitions ("Homage to Goya" at the Círculo de Bellas Artes, 1954 and " Artistas de Hoy "at the gallery-bookstore Fernando Fe) and an individual at the Buchholz Gallery (1955). His years in Caracas (1955-1967) would be to consolidate a personal style, moving towards experimentation with geometric language. Very soon he awakened the Venezuelan critics' interest for their paintings sent to the XXI Annual Official Salon. From 1960 he joined the activities of the Salón Espacios Vivientes and the Salón Experimental, joining the group El Techo de la Ballena. In this period he worked in engravings of great relevance, which start from geometric structures of free stroke and derive in forms inspired by graffiti and children's drawing.
Between 1962 and 1963 he made sets for the theatre group of the Venezuelan-Italian Institute of Culture (Caracas). From 1964 his political militancy made him interested in social issues, becoming involved in the kidnapping of footballer Alfredo Di Stéfano (August 1963). He even went to prison for the kidnapping of Colonel Smolen (October 1964). From 1968 he moved to Paris and began working as an assistant to the Venezuelan kinetic artist Jesús Soto, coming into contact with the group of artists of Nouvelles Recherches. From 1969 his works began to be exhibited in the gallery Buchholz in Munich, but what really marked the career of Luque was his presence in the exhibition "Position" held in the gallery Denise René, between July and September 1969. At this Parisian stage, he began his experimentation with plexiglass for his sculptures. Luque stated how this material "[...] attracted me because of its plasticity, manipulation ductility and technological application; for its contemporary beauty. " From these dates, and through the international shows and fairs in which he participated with the aforementioned gallery Denise René, and his personal relationship with Jesús Soto, Ángel Luque continued experimenting with the geometric language in all the plastic media until his death in April. 2014.