In a February 9, 2007 review in The New York Times of an exhibition on the artist at The Museum of Modern Art in New York, Holland Cotter wrote that "unless you have spotted his single smoke-puff of a painting in the Museum of Modern Art, Armando Reverón probably means nothing to you." "Why should he? Reverón, who died in 1954, spent most of his life in a shack by the sea in his native Venezuela. Many of his contemporaries dismissed him as nuts. His white-on-white pictures are practically unphotographable," he continued.

The artist studied for a while in Europe before settling in Macuto, a fishing village on the Carribean coast where he and his wife shared the space with pets and often dressed as Indians and he painted with brushes made of cloth, sticks and bones.  "The landscapes he painted there between 1926 and 1934 were remakrable.  Done mostly in white oils, they depict the immediate beachside surroundings, but as if in a blinding glare, or a light-shot mist.  They're like Whistler noctures at tropical high noon," Mr. Cotter observed, described another painting as like "a Malevich filtered through Agnes Martin."

The sale was 82 percent sold by lot and the total of $21,754,375 was the highest ever for a Latin American Art auction at Sotheby's New York.  Axel Stein, the department head at Sotheby's, said after the sale that "the demand for Abstract, Geometric, and Constructivist art from Latin America was particularly strong throughout the sale, with works by Camargo, Soto, Gego and Cruz-Diez inspiring competition between collectors from around the world."