BY GONZALO MÁRQUEZ CRISTO of poetry finds its admirable expression, its occurrence as an emotional landscape; a true renovation in its essence, which carries to these oils and acrylics on linen the power to radiate most mysteriously the idea that our beautiful satellite is well-versed in enigmas. Moon Door № ( ; FIG. 296 ), in which petrified fruits have a grey sky crowned by a moon that resists being totally grey, allowing the sight of a cloudy border, is a piece that seems magisterial in its composi- tion and strange perspective. Moon shade № ( ; FIG. 297 ), in which a cream-colored sky like a plaster wall supports a sphere that illumi- nates spectral fruits with a black light, incapable of resisting the mild influx of breath, is also the revelation of a wise palette, the impressive radiography of a dream. I recall Elegy for a JanuaryMoon ( - ; FIG. 299 ), where a red geo- metric structure covers a grey moon laden with a serious weight, while in the lower part a yellowmarble supports objects that dissolve like black flashes; Moon Dedicated to Memories № ( ; FIG. 300 ) consecrated in reds and ochers, where we can see the shadow of a shadow; Moonight № ( ; FIG. 298 ), where a pyramid situated in a mental space that would be what we call a world is reflected in the underworld, while the moon snatches the gold color of the sun that seems to be its legitimate owner; and e Sound of the Moving Moon ( ; FIG. 301 ), a piece in which we can perceive the harmony of the spheres, to allude to the metaphor of Pythagoras, composing a marvelous series of ruinous fruits, faded and ruled by the strange presence of our satellite reduced to a symbol of pri- mogeniture, which gives to these paintings the dark light that fertilizes poetry. It is incredible to think that in our pragmatic world, and decades from the mythic mission of Apollo , an artist who experiments with time in his still lifes —when the usual trick in this genre is to take up spatial rectifications— has managed to shadow us with the moon. L E V I T A T I O N S e hallucinatory drawings that comprise the Incubus and Succubus collection ( ; FIGS. 143 146 and 303 309 ), which evoke the demons of Jo- hann Füssli and especially Ambroise Paré’s book On Monsters and Mar- vels , are an important contribution on Amaral’s part to fantastic zoology. Here undulant animals of a Circean aspect —more than demoniac, as one might think from the title of the series— show themselves in profile with their snouts oriented to the left side, and bristle their tails or express their sexes as if they awaited a sexual trance or were being caressed by invisible creatures. Carried out with pencil on paper, with some illumi- nated by watercolors, and provided with a coloring that would seem to . Moon Door № , ‰‹ƒ”. ‹Œ×ŒŒ cm, acrylic on canvas. ◀  .  . ‣ . Moon Shade № , ‰‹ƒ”. Ž€×Œ‚ cm, acrylic on canvas. . Moonight № €, ‰‹‹‚. •”׎Œ cm, acrylic on canvas.