“ {Torres} Llorca’s art is expertly carved, painted, sewn, or woven. Its beauty lies in the details, in the gesture captured, the precision of the edges, the tightness of the simulacra, the sweep of the surface. It invites you in, but what penetrates and lingers through a direct engagement is its conceptual gravity and willingness to say the things that it seems, more and more, we are unwilling to say as individuals.”

On Rubén Torres Llorca’s History Will Teach Us Nothing

— Pérez Art Museum Miami

“Rubén Torres Llorca reflects on the dispersal of his generation of artists in the haunting “What We Were Then, We Are No Longer” (“Nosotros los de Entonces, Ya No Somos los Mismos,” 1987), a mixed-media collage anchored by a 1981 photograph of artists, Mr. Torres included, who had shown their work in the seminal Havana exhibition ‘Volumen I.’”

Glimpses of Cuba and Its Paradoxes

— The New York Times

“According to Luis Camnitzer, Torres Llorca’s early work had a sociological aspect since it studied media aesthetics and their effect on Cuban taste. Although his work was nourished by Pop Art and coincided with other international movements such as Conceptual Art, its intimate character gave it a personal and nostalgic touch.”

Rubén Torres Llorca - Chronicle of an article foretold

— ArtNexus

“His {Jorge Perez of the Perez Art Museum in Miami} Latin American favorites include...Cubans José Bedia and Rubén Torres Llorca, both of whom he believes are severely undervalued today.”

— The Miami Herald

“{Torres} Llorca uses a three-dimensional language to materialize his artistic gesture, considering that the work promotes a close relationship with each individual who observes it, creating a sense of reality.”

Make Me a Mask

— Google Arts & Culture

Smithsonian Archives of American Art
Oral History Interview, Audio, With Ruben Torres Llorca, January 1998

— Smithsonian Archives of American Art