Néstor Mora’s review offers a panorama of the artistic activity happening in Caracas in 1968, and shows how two graphic design exhibitions gained importance over another three painting exhibitions that opened on that day. The Venezuelan journalist points out that the artistic attraction of the day were the combination of etchings and aquatints by Luis Guevara Moreno (1926?2010). Nevertheless, in the interview, Moreno Guevara only offers general information, which well could be applied to both his graphic work as well as to his artwork, essentially bringing the researched image to the center of the graphic activity. The article acquires greater relevance after reviewing 13 grabadores, the exhibition held at the Galería XX2 (Caracas). It is the first exhibition of the Centro Gráfico del INCIBA (Instituto Nacional de Cultura y Bellas Artes, Caracas), which had started operating in February of that same year at the initiative of Simón Alberto Consalvi. The article also includes the comments of Luis Chacón (1927?2009) on the artistic work by his disciples, proceeding with a list of the participants of the exhibit and techniques used. Some of the Venezuelan students mentioned, such as Maruja Contreras (b. 1946) and Lamis Feldman (b. 1936), had important careers as engravers, and the experience at the Centro Gráfico del INCIBA represented their initiation in the graphic arts.
There is an interview by the writer J. R. Guillent Pérez with the artist describing the reasons that led to his abandonment of the abstract trend [see in the ICAA digital archive “La pintura en Venezuela. Guevara Moreno y la realidad” (doc. no. 1154490)].
