The Venezuelan curator and critic Ariel Jiménez interviewed Harry Abend (b. 1937) in 1995, on the occasion of the latter’s exhibition at the Sala Mendoza. The conversation underscores the similarity between Abend’s current works and those he produced in the 1960s; this, as the artist mentions, had previously been noted by Roberto Guevara. Jiménez analyzes Abend’s current work and compares it to what the artist was producing in that earlier decade. The Polish-born Venezuelan sculptor does not feel that he belongs in any particular contemporary art movement. Jiménez, however—like others before him (Roberto Guevara, 1985; Miguel Arroyo, 1962)—finds parallels between Abend’s work and the work of Francisco Narváez, basically in terms of the simplicity of their use of materials. Despite the fact that rationality has been a determining factor in Abend’s work, the interview turns up a number of other aspects that have, in an anecdotal sense, helped to define the look of some of his works. During the conversation it transpired that there is a constant evolution in Abend’s work, and that each new piece is a direct result of its predecessor. Some aspects are constant from one work to another, such as the organization of the volumes, but there is also a new element involved: the use of black. This is a very frank article that provides insight into Abend’s thoughts on his own work, and the range of mechanisms he uses. All that notwithstanding, the interview does not contribute much to what is already known about Abend’s overall body of work, since it focuses mainly on his most recent pieces.