The Spanish-born Venezuelan museologist and curator Iris Peruga does a remarkable job of summarizing the work of Gabriel Morera (b. 1933) on the occasion of his first retrospective exhibition in 1996 at the Museo de Bellas Artes de Caracas. Peruga delivers a very complete report, its critical thrust amply supported by quotes from several writers who are familiar with Morera’s work (such as Perán Erminy, Roberto Guevara, Juan Calzadilla, Miguel Arroyo, and María Elena Ramos), and by catalogue essays from Morera’s one-man shows (written by Mara Comerlati, Rodolfo Izaguirre, Christiane Dimitriades, and Fedra Spotmos). Peruga manages to condense almost everything important that has ever been written about his work into her essay. All this material provides solid support for her research and the basis for her suggestion to divide the Spanish-born Venezuelan artist’s works into different periods. The works in the exhibition were painted in 1960 or later, but Peruga is also interested in his earlier European phase (1956–60). To help understand Morera’s work, Peruga divides it chronologically into four stages, and then divides each stage into his different styles and series. The 1956–60 stage includes his Cabezas Filosóficas series and his informalist work; from 1960 to 1963 he was involved with the Venezuelan group El Techo de la Ballena and his white Pinturas; 1963 to 1976 was his North American phase that included Los eclipses; Primeras cajas; Cajas grandes; Los Orthos, and La etapa negra; the fourth stage is his other Venezuelan period from 1975 to the time of the exhibition, which includes Pintura con aerógrafo; Cajas y retablos; Cultivos de cera para zapatos celestiales y otros mitos; Turumo; La densa transparencia del vidrio; and Armarios de astrólogo y otras cajas. Peruga adds an extra stage that she calls a “return to painting.” It doesn’t fit in her chronological timeline because, though not quite a secondary occupation, it is present throughout Morera’s entire career.