"Iberê's prints of this period are anchored in the same interrogations which permeate his work as a whole. Manequim e ciclista (Mannequin and Cyclist), from 1992, is among the most representative of this period. Among the agitated etched lines, a cyclist and a mannequin coexist. Life confronts death, truth falsity. Both characters stand alone before the tenuous horizon which marks the boundaries. Female figures stand silently side by side within the pictures. [...]"
Mônica Zielinsky, Iberê Camargo: catálogo raisonné (São Paulo: Cosac Naify, 2006), 115-116.