(...) Later, art critic Jean Clay would reinforce Cruz-Diez's historical position by situating his contribution within what he identifies as "the three stages of modern color." These stages supposedly marked a transition from the purely descriptive role of color to the discovery of its intrinsic expressive power, and then to its complete autonomy within structures that function in an open and random manner, where the artist maintains color's phenomenal nature—perpetually moving and indeterminate.

The exorbitant privilege of the artwork lies in its ability, amidst the flow of historical facts—swiftly carried away as soon as they are lived—to offer a tangible order of facts that always possesses the incredible capacity to present itself, here and now, for direct experience. Cruz-Diez's works continue, long after their creation, to generate "real situations" that exalt, in his terms, "the phenomenon of color in itself" and the glorious event of any chromatic epiphany.

Alfredo Boulton - Cruz-Diez, 1975