The social dimension of Eduardo Chillida’s work fluctuates between two clearly differentiated yet complementary sides: on the one side, his public monuments, works belonging to the citizens, and on the other, his facet that is closer to the world of graphic design, materialized in the production of logos, anagrams and posters designed for various causes, organizations, and institutions. Public works transcend the work of art when they call for a direct relationship with the urban or natural landscape, but they also acquired a social dimension because they have ethical connotations. While with his designs and drawings related to issues like the protection of civil liberties Chillida penetrates the collective imaginary.