[1] Quoted in Carlos Diaz Sosa and Jesus-Rafael Soto 1966
[2] Ibid., 8.
[3] Ibid., 9.
[4] Alfredo Boulton, Soto (Caracas: Ernesto Armitano Editor, 1973), 169.
[5] Estrellita B. Brodsky, Soto: Paris and Beyond, 1950–1970, exh. cat. (New York: Grey Art Gallery, 2012), 16–20.
[6] Yve-Alain Bois, “Some Latin American Artists in Paris,” in Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection, exh. cat. (Cambridge, MA: Fogg Art Museum, Harvard University, 2001), 77.
[7] Renard, “Excerpts from an Interview with Soto,” 12–13.
[8] Ibid., 16. Soto describes his transition from Plexiglas: At a given point, I understood that I had to eliminate one of two liberties, and through this discovery, in 1957, I retained, almost mechanically, the tightly ruled background screen, leaving the superimposed elements free.”
[9] Marcel Joray, Soto (Neuchâtel, Switzerland: Editions du Griffon, 1984), 140.
[10] Marie-Pierre Colle and Carlos Fuentes, Latin American Artists in Their Studios (New York: Vendome Press, 1994), 162.
[11] Ibid., 157–58.
[12] Portions of a conversation between Soto and Ariel Jiménez are reproduced as “Fragment of an Infinite Reality,” in Inverted Utopias: Avant-Garde Art in Latin America (Houston, TX: The Museum of Fine Arts, Houston; New Haven, CT: Yale University Press, 2004). 511.
[13] Quote reproduced in Brodsky, Soto: Paris and Beyond, 33.
[14] Ariel Jiménez, Soto (Caracas: Fundación Jesús Soto; Banco de Venezuela, 2007), 99–115.