In the critical text “Obra reciente: Oscar Machado,” the curator Ruth Auerbach is emphatic in declaring the importance of Oscar Machado’s sculptural work. In her opinion, this is sculpture that is ready to assume the risks presented by the future. This document highlights the original nature of the sculptor—including a kind of Conceptual art perspective—as he works with traditional sculptural materials. Introducing these to a new generation of artists, Machado retains the sculptural language he has always used while taking advantage of the spatial resources of installation art. Auerbach points out that Machado’s work is in a continual process of change; in this work, "there is a steady stream of ideas." To the curator, Machado “enriches” the sculpture made in Venezuela; in particular, she considers it innovative. She believes this is clear to the objective observer, both in the way form dominates and in the presence of objects from an imagined “archaeology of the future.” All these elements place the work at a considerable distance “from the traditional treatment of sculpture.” To the writer, Machado represents a new way of coming to terms with sculpture in Venezuela. Most importantly, the work created by Machado has been in “consonance with the energy that has surged into art in the past decade.” This text was also published in the daily newspaper El Universal on September 21, 1990, under the title: “Oscar Machado: la nueva escultura en Venezuela." The text was then published once more, just as it appears in the original Sala RG exhibition catalogue, in the catalogue/guide CCS-10, Arte venezolano actual (Caracas: Fundación Galería de Arte Nacional, 1993, p. 39).