The author of this review, Alfonso De Neuvilla y Ortiz, seeks to present the theoretical and technical principles that underpin the approach to color taken by Carlos Cruz-Diez (1923–2019), whose work was being exhibited at that time at the Museo de Arte Moderno del Bosque de Chapultepec. The article takes the commendable step of highlighting one of the problems that the Venezuelan artist (who lives in Paris) has always had to face; namely, the fact that his work was judged according to formal and even formalist standards (the use of geometric forms arranged within a specific space), when his goal was to present the viewer with a pure chromatic event: “color-light” that was unattached to, indeed liberated from, any formal relationships. The reviewer—who seems to be more interested in referring to artists and historical movements than to the principles underlying the work in question—claims that Cruz-Diez’s work involves a wide range of “eloquently arranged” geometric forms, when in fact the artist always sought to avoid a narrative discourse and struggled to make the viewer see what was happening between forms and lines; that is, the appearance of shades of color that were not chemically present on the support.
De Neuvilla y Ortiz refers repeatedly to the geometric forms the artist uses, and even to the three-dimensional structures (that remind him of Japanese origami). An imaginative reading, undoubtedly, that is evident in the variety of compound forms on the pictorial surface and in the number of technical solutions he uses to arrange them in space.
In regard to the goal of intervening in architectural projects and the urban fabric, as mentioned in the title of the article, it is clear that the reviewer associates Cruz-Diez with modern attempts to reintroduce into modern architecture some of the decorative value that the author admires in Art Nouveau, something which has been lost in large cities thanks to Synthetism. His position on this matter is unclear, and he fluctuates between criticism and praise without stating his preferences. The article says that “efforts to imbue polluted cities with an aesthetic dignity are also shafts of light beamed at the complexities of an aesthetic that focuses more on the essence of an artwork than on its existence.”