In 1982, when the exhibition of works by Luis Guevara Moreno (1926?2010)—Una poética: Lo versátil—was presented at the GAN (Galería de Arte Nacional), the journalist Lenelina Delgado interviewed the artist, asking him about formal matters as well as about the art scene in Venezuela. During the interview they discussed things such as the marketing of works of art, the conservation, protection, and handling of these works, and art education in Venezuela.
This was therefore a very important interview because it shed considerable light on the artist’s ideology and deflected the critic Juan Carlos Palenzuela’s negative review of the exhibition (see “Guevara Moreno. Balance,” El Nacional, 23 November, 1982). During the interview, Guevara Moreno refers to his exhibition as being “anthological,” whereas Palenzuela described it as a “retrospective,” which was the basis for the disagreement and bad feelings about the selection of works.
Delgado, on the other hand, takes a more neutral stance and, in her introductory remarks, merely mentions some general facts about Guevara Moreno’s life, without expressing any value judgments on his work. Her detailed questions, however, show that she is very familiar with Guevara Moreno’s work and career and, although she does not explore the formal aspects of his work in depth, she does ask him about his production methods. The interview is thus very informative as regards Guevara Moreno’s choice of materials and their durability, his views on appropriate work spaces for artists, and his thoughts on the necessary conditions for an appreciation of art.