"Corresponding to Bravo’s celebrated painting series of anonymous packages wrapped in paper, Three Aluminum Papers shows the metallic panels, equidistant apart, fixed to thin rods and cords, and hanging against a deep Prussian blue wall. The three shimmering bands of foil, with golden highlights, suggests a devotional tableau of some kind, rather in the manner of an altar hung with Tibetan thangkas. Considering Bravo’s Catholic upbringing in Chile, and his passion for painters of the Spanish Baroque that he studied firsthand in Spain, and in particular the paintings of Francisco de Zurbarán (1598-1664), one might be tempted to regard Three Aluminum Papers as an allegorical work, alluding to the Holy Trinity, perhaps, but without overt religious imagery. In this way, Bravo, with aforementioned sleight-of-hand brilliance, infuses the commonplace with an unexpected spiritual propensity."

"Bravo, who lived and worked in Morocco for decades, pays tribute to this adopted homeland in many works, but not in the usual or expected way of emphasizing local color, Berber tradition, or elements of Islamic culture.  He neither romanticizes nor exoticizes the North African milieu, and his works, while harboring a spiritual aim, are apolitical in this regard...Clearly, the still-lifes Saharan Vessel (1994) (and) Moroccan Fans (1994), are sincerely felt, reverent tributes to the arts and crafts of North Africa, particularly Moroccan weaving and ceramics – which Bravo collected in depth – as well as the country’s ancient ethnographic history."​​​​​​

“Among the earliest and most mysterious works in this exhibition, Nude Male Leaning on Column (1979) is a complex scene of a studio interior, with a male nude seated on the floor with his back to the viewer. A window in the far distance reveals an urban setting. On a bench near the male nude, a seated female nude is, remarkably, left unfinished. A ghostly presence, this sensuous apparition might suggest either the beginning or the aftermath of an erotic interlude. A surrealistic atmosphere pervades the scene, although Bravo’s work, as it explores consciousness rather than the unconscious, cannot be classified as Surreal. In this work, and in all of his paintings and works on paper, Bravo places his formidable and inimitable technical skills in the service of illusionism. With his singular vision, he aims to convey the magic of reality.”