As the curator of the anthological exhibition Harry Abend:1970–2002, architect and professor Freddy Carreño provides one of the most detailed studies ever written on the work of the Polish-born Venezuelan sculptor Harry Abend (b. 1937). For a deep understanding of Abend’s art, Carreño first outlines the idea of “modernism” in art. After describing the impact that the transition from “modernism” to “Postmodernism” and the contemporary had on artists, Carreño analyzes Abend’s work. He argues that—in terms of perception—Abend was able to move beyond that transition as he went from being a “modern” to a “contemporary” artist. Carreño bases his understanding of the interrelationship between modern and contemporary art on philosophy, ideology, and aesthetics, specifically on authors such as Octavio Paz, Stephen Spender, and mainly, Matei Calinescu. In Carreño’s view, Abend’s training as an architect is fundamental. He argues that it is evident in the contrast between rationality and emotion—a binary [perspective] that, in his view, forms the structure of Abend’s work. While Carreño does not analyze the individual works in each of the areas of Abend’s production, he does discuss each area in depth, focusing on the aesthetic influences on the artist’s thinking. Though Carreño claims to study Abend’s work as a whole, he does not discuss his use of precious metals. Notwithstanding this, it is one of the few texts that explores each individual aspect of Abend’s creativity.