(…)Who will move their dilapidated partitions? Who will use their broken furniture? Who will make music with those broken instruments? These objects are there not to be touched. They are museums, archaeological residues and works of art at the same time. In a word: simulacra.
It is a trap that has played a trick on the life of someone who once trusted in the possibility of making “non-art” to escape from frigidity, from the institutional (and control), and ended up rebuilding around the reality that manipulates a museological space, an entity equidistant from society and theater, from fiction and history. “

Molina, Juan Antonio. “Carlos Garaicoa: Estética de la frustración”, En Inside Havana (cat.), 1995, La Habana.