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In the catalog of the exhibition Savo Popović wrote among other things:

The rich and diverse opus of Miodrag Ristić began, regardless of the sub-cultural noise, in the late 1970s and has continuously lasted until today as an evidence of the scholarly seriousness with which the author has researched the essence and meaning of the picture in his „laboratory“. When he presented to the public in 1990 his Spatial Paintings he had already laid the foundations he would develop and extend in the years to come. Those are crumpled aluminium plates that could easily be considered reliefs if only the author did not call them paintings. Painted or not those dynamic surfaces radiate a certain rebellious energy. Just like the conspirators they break up the established conceptions about a painting – a canvas, a painted flat surface. Even if the folds have a constant rhythm or pulsate almost aggressively, they do not, in their final form, appear to have been produced by the author’s precise planning. Only his decision to act is a certainty. Therefore, if we believe him that those are paintings, couldn’t we call that aspect of creative work – action-painting? Ristić’s paintings have conquered the space. They have entered the space but have not yet sucked it in. Although we live in the time when man communicates with the painting as if it were an object, Ristić’s paintings-reliefs have not lost their meaning. Their rebellious and frequently rough energy in his next cycle would be caught and somewhat pacified by the metal spiderweb inhabiting the central pyramidal recess of the aluminium plate.