"Although born in England, it was in the United States that Pop art found its best translation and greatest star: Andy Warhol. Already defined as the ‘ageless child of the world of the media,’ he devalued the aesthetic function of art. In a mechanized society, where the artist himself became a machine, Pop art devoured its scraps, easily recognizable mass-culture stereotypes such as Campbell's soup cans or portraits of Marilyn Monroe […] Unlike Warhol, James Rosenquist did not try to freeze the stereotyped image of publicity, but instead absorbed all the energy and expressive speed of it."

AMARANTE, Leonor. As Bienais de São Paulo: 1951 a 1987. São Paulo: Projeto, 1989, p.165

"The anti-contemplative voluptuousness of contemporary art had come between us, just when the demands of the political regime became tougher and more repressive. In this Bienal, the interaction between art and the public reaches a new level in the history of the exhibition—and perhaps in the history of any great exhibition before it. Days after its opening, ‘there were no more works intact at the Bienal and it was not known whether there had been a day of wonderful celebration or a fierce battle of vandals. The people consecrate the new art."

ALAMBERT, Francisco e CANHÊTE, Polyana. As Bienais de São Paulo da era do Museu à era dos curadores (1951-2001). São Paulo: Boitempo Editorial, 2004, p.117