In his careful and competent review of the work Harmony in Red, White, and Black, Aguilar (1991, p. 107) identified its principal elements and emphasized the fact that the compositional structure contains and leaves open to apprehension the temporal dimension of its execution: “the vertical lines surpass the horizontal lines and gain élan, only to explode into a red mandala at the top. In addition to exposing the different timings of execution, the less incisive interjections (velaturas, multiple layering) embody the linear scheme and scrutinize entrances and exits in the pictorial maze. (...) Here there is no form or background, the canvas breathes within a sole plane which is distended here and there by spatial events”. According to the author, the work “reveals gestuality and experience in its interrupted, scabbed over lines – the author’s way to inscribe himself in a space pregnant with initiatives and visual stimuli”.

— Unknown authorship, 1998

---