“Fiadas de carretéis (Rows of Spools) bursts into the spools from 1963 to 1966. At a time of great political tension in the country, Brazilian art develops amidst the influxes of the avant-gardes and a highly experimental vein. Countercultural movements on the international scene spread through the culture of the country. In this context Iberê continues his art motivated by his convictions about the issues of painting. He extends them further through his Núcleos and Núcleos em expansão, which extinguish the spools through the indispensable tension of all great art. These works come from the peak of the body’s action on canvases that obsessively break definitively with representation of objects. One print accompanies these paintings, his Núcleo from 1965, a work which rips and pours the profoundest doubts from a turbulent essence towards its edges.”
Mônica Zielinsky, "A inquietude da arte," in Mônica Zielinsky, Paulo Sergio Duarte and Sônia Salztein, Moderno no limite (Porto Alegre: Fundação Iberê Camargo, 2008), 119.