"Perhaps the most powerful piece was a bronze frieze called Mujer Pegada Series No. 2 (1985–86). In this sculpture, a blue and aquamarine figure stands against the metal wall, surrounded by creamy whites and yellows, while a parallel figure recedes back into the wall on the right. This frieze presents the viewer with a true moment of emergence, a moment in which process gives birth to form even as form slides back into the river of process. Working with friezes has offered Neri a way to engage his fascination with that borderline, that in-between space that exists in his work as the divider, and joiner not only of form and process, but also of sculpture and painting, tradition and individuality, permanence and improvisation. Despite the obvious weight of his accomplishment, Neri still seems to dwell in this state of perpetual becoming. We should be grateful."
Sculpture Magazine, January/February 2006, Vol. 25 No. 1, Reviews, p.70