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In this essay, the well-known critic Roberto Guevara discusses the evolution in the Chinese-Venezuelan visual artist Francisco “Chino” Hung’s style. Guevara bases his remarks on a review of the artist’s works from the early 1960s until the present day. The critic comments on certain characteristics he notices in the artist’s latest work, and underscores the latter’s efforts to explore new directions without abandoning some of the shrewd decisions he had made earlier in his career. 


This essay by the Venezuelan curator and art critic Roberto Guevara (1932–98) confirms that he was one of the first Venezuelan art critics to evaluate the “meteoric” career of the visual artist Francisco “Chino” Hung (1937–2001), based on his one-man show at the Ateneo in Caracas. The essay is actually incorrect when it states that the artist had his first solo exhibition at the Museo de Bellas Artes in 1961. In fact, the show at the MBA took place in 1963, and was the third such event in Hung’s career. His first one-man show took place in 1956 at the Galería Mare Mare, in Caracas. Guevara reviews Hung’s exhibition at the Ateneo in Caracas but fails to mention that it took place in 1969. All that aside, most of Guevara’s remarks are relevant because, while praising the artist’s work, he points to a certain sense of exhaustion and indecision in his creative process, especially since he was on the brink of embarking on a new phase. The critic therefore correctly describes Hung as one of the forerunners of the Venezuelan Informalist movement, due to the gestural tone of his painting and the quality of his material.    

Felix Hernandez
Fundación Mercantil, Caracas, Venezuela
Roberto Guevara, 1980
Biblioteca Félix Hernández, Caracas