Antoni Miró has already done (and well done) a large, complex and tumultuously sharp work. The artist has not known neither has wanted to resist to the first demand of his job: the maximum command of the expressive possibilities whereby the choice and use turn into the unique, irreplaceable and clear solution in every moment. It is not a question of free experimentalism, the endogamic aesthetic game or experimenting; it is a question of seeking the creative freedom resources aiming to define a personal and objective diction being able to reach the last intention of the work. Antoni Miró has been applied to every relevant area: painting, ceramics, drawing, murals, the most diverse graphic techniques, mobiles, sculpture, with metal or with mud... The intrinsic dialectics of each procedure led him to some apparently contradictory realisations. Not only apparently. Since the first day, in the crux of his firm and protean work, a critical decision has been projected on the man and the society created by the western man. It is sometimes the cry of complaint; others, the abrupt sarcasm and, from time to time, the proper incongruity of an art cornered with its own hypotheses. Hence a deep suggestion arises along with a lesson.