萊斯利·德·查韋斯

艾麗絲·G·吉耶姆，《亞洲藝術期刊》，2009年3-4月，第10號，第133頁

The work is in overall good condition. The canvas is taut and the paint layers are intact. Minor signs of wear and handling around the edges, but this does not detract from the quality of the painting. Examination under ultraviolet light shows no signs of restoration. Unframed on a stretcher.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"To describe his art as "social realism"  is... to sell it a bit short, considering the denouement of that genre. De Chavez is not a didactic Marxist, arguably more of a humanist. Yet, it's clearly "message art" nonetheless. However, unlike the social realists of a quarter century ago, he presents the image for the interpretation of the viewer, without a fixed (and often heavy-handed) symbolic meaning à la roman à clef. Ironically, this is closer to the original meaning of social realism, which, when it emerged as a reaction to decorative art, romanticism and the celebration of beauty, was more akin to photojournalism than the propoganda it became in the latter years of the 20th century. De Chavez himself says, simply, that his paintings are about the effects of colonization."

Paolo R. Reyes, Rogue Magazine, Don't Be A Stranger, Number 12, July 2008, Manila, p. 18