The episode is perhaps the instant in his life which most resembles his art. Also unexpected is the resolution of the oppositions between the painting understood as window and the work of art understood as mirror, between art and life. In this way, he rejects criticism as an activity related to aesthetic pleasure, with the techniques to transmit that pleasure to others, to make plausible a scale of values, the appreciation of formal qualities. The success of museums as a mass medium and new exhibitions practices added new demands to those of preservation. Now an exhibition can only be justified if it raises provocative questions that can be illustrated through a particular configuration of objects.
Cultural life provides a pressure that has stimulated new themes and ways of looking at things.
At the same time, there has been a revision of tools of language and interpretative methodology implemented by art historians who have worked on Latin America and developed crucial research to situate Latin American visual production within the context of art in the rest of the world. The strengthened interest in objects in and of themselves is coupled with an intercultural perspective to examine crosscultural exchanges and western conventions of representation and their colonial significance. The accent has been placed on the multivalent signifying power of early hybrid images. Today the question is not one of obsolete standards nor of narcissistic defense strategies. The fears and anxieties that arise in the work of the new art historians have other social and cultural relevance.