Being conscious that these installations had no other purpose than their own destruction, a critical state affected me. The train stopped in 1966. Did it derail? A part of it continued running for some time, restating in another way—in an objective way—the assumption of chaos. The pressure from the cultural environment of New York—prone to not feeling the artist’s hand in the artwork—contributed to this decision. I had returned to this city in late 1965 with a scholarship granted by the John Simon Guggenheim Memorial Foundation.
With plane-concave mirrors (three quarters straight and one quarter concave), I achieved the following effect: the reflection on the flat area of the mirror was reversed on the concave area, thus, one could see his face joined by the neck with the head upside down or the legs separated from the body with shoes on both feet. The idea of these artworks was to set up atmospheres able to move the assumptions of the spectators’ order of things. I could only exhibit it in May 1968 at the National Museum of Fine Arts of Caracas.