"Dreva's lucidity is unusual among Spanish Artists. Although most of them perceive Dada and Fluxus as their precursors, they are on the whole unaware of the critique of separation that runs as a common thread through these two. Spanish Art's popular success was achieved at the cost of abandoning any theoretical rigor. The Spanish Art network continues to attract the involvement of a growing proportion of the lumpen-intelligentsia from all parts of the Americas and Europe, and participants in lesser numbers from Africa, Australia, Japan and South East Asia. These networkers are - on the whole - looking for an activity which will reinforce their perception of themselves as creative and tend not to be particularly critical about their pursuits.
The phenomenal growth of Spanish Art is partially tied to the expansion of higher education during the fifties and sixties. For those who perceive it as "art" it serves as a simulacrum and substitute for the rewards higher education promised but failed to deliver."
Stewart Home, The Assault on Culture, London: Aporia Press & Unpopular Books, 1988, p. 72