Bartomeu Mari
Miralda Collage. MIRALDA: Obras 1965-1995.
Fundacion "La Caixa"/ IVAM, Centre Julio Gonzalez 1995.

"Contemporary societies have lost the sense of the feast but have kept the obscure drive for it. Or rather, they have lost the religious sense of the feast and have tried to replace it with something else...I believe that Miralda, with his performances, tends to restore the feast as a disciplined ritual that ends in accordance with a plan. One can and should light fires, eat bread, and enjoy physical beauty, but calmly and with disciplined serenity. His feasts seem to be an encyclopedic synthesis of countless age old liturgies: flower rituals, processions, picturesque banquets, cults of metamorphosis, self-cannibalism, edible landscapes, prehistoric itineraries toward the sun, the evocation of rainbows, of birds, and of banners, of nature and culture, of the raw and the cookedóa true kermess of recovered human civilization..."

Umberto Eco.
"The Festival Designer: The Artistic Work of Antoni Miralda
ARDI, December, 1988.

"In our post-modern and post-industrial society, the problem of popular culture is essential (...) If you think it over you realize that Miralda is really the Peter Pan of this culture. His presence, his politics, are totally free (...) The purpose of the modernist people in our period of transition towards post-modernity is really to establish and develop the cultural activities of the industrial society. Miralda´s concern is very simple: it´s the idea of inner logic in human expression. For Miralda popular culture is not something which must be glorified, which must really be considered as an achievement of man. For him, popular culture is a sense of life, a culture of life (...) This spontaneous direct existential approach toward what we may call popular culture today is really the problem Miralda is dealing with in his work, the real recipes of his sense of freedom.
Color is more than the expression of life. It is the expression of life into light. And it is evident that this kind of very strong and spontaneous approach to life is one of the most evident characteristics of Latin civilization. In that sense, Miralda can be considered as almost a super Latin..."

"Extracts from a series of interviews by Jordi Torrent for the Monuments in Love video:

Pierre Restany
MIRALDA: Obras 1965-1995.
Fundacion "La Caixa"/ IVAM, Centre Julio Gonzalez, 1995.

"Antoni Miralda acts specifically in this context: he opens art up to anthropology, finds subjects in local cultural operations, associates comprehensible languages and ritual elements which often originate from popular events such as festivals, handed down from one generation to another, which makes it possible for part of the population from a place or region to meet around his art.
He himself comes from a region which is accustomed to reading works of art through the filter of symbols which are catalysts of social and political conflicts and guarantees a public identity..."

François Burkhardt
The Art of Gaining Public Consensus. MIRALDA: Obras 1965-1995.
Barcelona: "La Caixa"/ IVAM, Centre Julio Gonzalez, 1995.

"...Honeymoon proves that all of Miralda´s previous production was premeditated and contingent upon a certain plan, a voyage along paths the artist needed to explore, rejecting some and pursuing others that led to new, significantly different proposals. Honeymoon is a summary of all his earlier work, proof that his entire process of creation is exceptionally consistent and coherent in terms of both semantics and linguistics... Looking back over the years on his frenetic and prodigiously imaginative activity, it becomes evident that Miralda´s creative process is governed by certain coordinates. It contains a set of meanings, a guiding thought which is expressed in his visual art: an eloquent evocation of a free, peace-loving, festive world that simultaneously ridicules all types of violence, aggression, power or any other form of domination of one human being over another. It is, in short, an ethic.
...the work that moved furthest into the future, exploring the possibilities of virtual image. Above all, it isn´t Honeymoon that the ethic and aesthetic that have underlain Miralda´s work since the very beginning reach the peak of their expression."

Maria Lluïsa Borràs
Work as Process. MIRALDA: Obras 1965-1995.
Barcelona: Fundacion "La Caixa"/ IVAM, Centre Julio Gonzalez, 1995.

"Eating a sandwich while inside a sandwich isn´t something you can do just anywhere, anytime. But, then, El Internacional isn´t just anywhere, anytime. The restaurant mingles many times, many eras, just as it combines many pieces, many nations. The menu, ranging from, say, a sandwichóthat purportedly British invention best had anywhere but Great Britain and called an entrepa (between bread) in Catalanóto one of Montse Guillen´s celebrated Catalan dishes, based on ingredients as elemental as the earth and sea from which they come and the fire over which they are cooked, waves flags of varied cuisinesóa kind of United Nations sub-committee, meeting in very special session, without too much ethnic precision..."

Ronald Christ
"EL INTERNACIONAL: An Archeological Sandwich,"
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"The public art terrain in which Miralda operates remains an exposed frontier of culture clearly functioning in other terms than the conquered cultured parcels of art museums and the uncharted but protected corners of the art world... Unlike the isolated practice of traditional 'studio' artists, today many artists are embracing and welcoming a broad public into all aspects of their art. With Miralda the audience and the co-workers in any project were an integral component of the artwork since his first Fête en Blanc."

César Trasobares
"Miralda´s Touch: From Private Notes to Public Art,"
ME NUS, Sa Nostra, Ajuntament de Barcelona, 1994.

"...what should interest us is how Miralda´s art has contributed towards shaping both collective memory and shared amnesia. Miralda has more or less consciouslyóand, indeed, I would say unconsciouslyóbased his work on features of civilization which civilization itself has hypocritically uprooted from 20th century culture. He has brought back to the visual arts some features which were banished from the celebrations and festive events that had been appropriated by the political and economic powers, and have now become part of the language of the authorities. By this I mean rituals of representation which are on the borderline between subversion and alienation, rites that link aspects of individual subjectivity to features of the subconscious mind.
There are a whole series of artistic expressions, like those of Miralda, that cannot be ignored and which shrink from the authoritarian structure imposed by institutions. While stripping art of its drama, Miralda shifted its focus towards celebration and actively involving the public in a dialogue with its own history and experience.

Bartomeu Mari
Miralda Collage. MIRALDA: Obras 1965-1995.
Fundacion "La Caixa"/ IVAM Centre Julio Gonzalez, 1995.

Miralda´s concern with the formal structure of his work has a pictorial character. His attention to color, to formal distribution, the importance attached to the graphic elements that surround his events (videos, sketches, posters, procession designs, drawings, manufactured objects, "improved food" also place him in a different realm.

Vicent Todoli
Santa Comida catalog, El Museo del Barrio
Miami-Dade Community College, Exit Art, 1985.

"...Miralda is interested in history as a system of signs that constitute the spectacle of life. ultimately this language will culminate in the form of a celebration, a total performance, where the viewer of life (i.e. TV culture) is suddenly projected into participation through art. It is this sense of a participation reality that is at the core of Miralda´s statement as an artist."

Robert Morgan
"Marriage-Exorcism-Miralda"
catalog of Miralda exhibition at Holly Solomon Gallery, 1991

"Miralda comes from another unusual city, vibrant with a culture all its own, particularly in the way it mixes influences from everywhere else through time...
He makes us look at various customs to help us see how we seek refuge from confusion, banality or routine by embuing certain experiences with special significance and creating festivities to mark them. He finds beauty, pathos and humor in what we do to express our values and help ourselves understand passages of time or matters of spirit..."

Philip Yenawine
"Making Sense"Honeymoon Miralda Las Vegas"
Nevada State Council on the Arts, 1992.

"Miralda has always represented the position that spectacles are celebrations inspired by love, not detachments removed from life. In contrast to the pragmatism indigenous to the United States, Miralda has always seen spectacles as ideas made manifest through extravagant display. Ideas are not divorced from the excess of decorum or from the rampart overindulgence of the information age. For Miralda, the romantic is not so much antithetical to concepts as it is contingent upon them. To think in relation to the spectacle is an alternative to the involuntary seduction of the image that so completely encapsulates our time. Television is the most obvious and omniscient example of this pandemic phenomenon.
...I think it is importantócrucial, in factóto move beyond the vestiges of cynicism in coming to terms with the spectacle of Miralda. What Miralda offers is a moment of deliverance from the mediated culture that we have grown to accept, even as it exists at odds with our psychological, cultural, political, ecological, and economic health. Essentially, Miralda is offering a vision, a possibility, that art can still exist as a projection of intimate spaceóthat it need not be an exploitive commercial enterprise that simply allures the spectator into a state of acquiescent agreement or into a soporific state of mind..."

Robert Morgan
Honeymoon Miralda Las Vegas"
Nevada State Council on the Arts, 1992