In this interview, Luis Guevara Moreno tells the journalist Lenelina Delgado that the best way to produce an ‘anthological’ exhibition is to do it when the artist in question is dead, and cannot intervene and pressure the organizers to make a strict selection of works. Among other things, Guevara Moreno stresses the importance of the hardiness and therefore the fate of the work. He believes that the appropriate selection of materials and the skill and knowledge of those involved in handling works of art are factors that will influence the ultimate fate of the pieces. He also mentions the importance of an artist’s working conditions and the creation of appropriate spaces that are well suited to his particular field. Guevara Moreno also suggests that it is time to update the curriculum at the Escuela de Arte (in Caracas).

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.