In this text, the curator Luis Ángel Duque exposes the reasons why the sixth Bienal de Artes Visuales Christian Dior (1999) is dedicated to hypermedia. In his view, each of the twenty-four participants in the exhibition used imagery and expressed themselves through photography and video. Duque historically reviews the emergence and development of the hypermedia in Venezuela, placing the art within the decade of the sixties, and then also reviewing the 1970s and 1980s, and finally the 1990s. Within this context, he frames the work presented in the 1999 Dior Biennial.

The text by the curator and art critic Luis Ángel Duque (b. 1954) has historical value in that it establishes historical kinship between the Venezuelan art of the 1960s and the 1990s. It places the art of hypermedia in the country in the visual art discourse generated by the photographers Paolo Gasparini and Daniel González, as well as the emerging work of mass media by Renny Ottolina. The first two documented (via black and white photography) the Venezuela of the moment, and the last premiered new imagery technology and its effects, a choice appropriated by the video artists who would emerge years later. Duque points out the importance of the work by Roberto Obregón and Claudio Perna during the 1970s, and the exhibition Arte de Video (Caracas: Museo de Arte Contemporáneo, 1975), where it showed established international artists such as Dennis Oppenheim, Ed Enshwiller, Nam June Paik, and Charlotte Moorman. In the1980s, the author points out the participation of the Venezuelans Leonor Arráiz, Sammy Cucher, and Nela Ochoa, among others, as producing mass media work in tapes, installations, and video sculpture. All of this establishes the foundation of what would become the prevailing view of the arts during the 1990s in Venezuela, period where the participants in the VI Bienal de Artes Visuales Christian Dior belong.