A reviewer of an exhibition in Maracaibo featuring works from 1976 to 1984, wrote " The synchrony and diachrony of the works cross a still point in which the show is no longer a total of 27 paintings, but only one . " A critic viewed the works linkage at an exhibition in Atlanta as " a net, a polyvalence of economic, cultural, political, and sexual discourse . " The net is not just a formal manipulation to tie the divergent contents of the paintings together, but a very real device that grew out of the complex discourse of the paintings and ultimately from the poetics of the painter . At a 10-year survey in Caracas a critic wrote " the installation of Kanso monumental paintings projects an immense space charged with a high level of intensity closely connected to the tension and anxiety that we face in the world today.
