"Raúl Lozza is an artist who has acquired a noble privilege. Recognized by the history of art as a key avant-garde figure of the decade of the Forties, he has also gained the rare gift of appreciation from the younger artists who are encouraged both by his works as well as by his general attitude towards life and art. 
In a world such as ours, in which reality is systematically hidden by all kinds of influences and virtualities, Lozza seems determined to give reality a preferential place. 
He does not subscribe to contemporary skepticism for the sake of knowledge. What he perceives and what is real are coincidental in his work. What he sees is real, since the objects have been placed at the same distance, both perceptive and real, of the plane. For Lozza, just like for an engineer or an architect, the creative core lies more in the project and in the idea than in the realization of the "final" work. Therefore, he rejects the myth of the unique and 

irreproducible work, while, at the same time, his work is closer to that of the man of science. Like the latter, Lozza subjects himself to the obstinate rigor of complex codification and to the control of mathematical measurement. His works cannot be appreciated from the standpoint of mere visibility. They are also conceptual because they deal with an idea of a work emancipated from the commonplace. Thus, his works introduce a particular kind of creation of the author and recipient. The new shapes that he contributes to the world are destined to activate the cognitive capacity of the observer, still not developed enough. They must lead knowledge and transformation towards a happier life". His aesthetic position is also ethical. One more feature of the permanence of this "young" master, born in 1911".

Elena Oliveras 

 

"The aesthetic conceptions of Perceptivism embrace, among other things, the idea of exceeding all existing traditions in the heart of the abstract art. Raúl Lozza, who has understood the significance of Malevich’s contributions, tries to keep them alive through his works"

Rene Renne (Paris)

 

"...all of which contributes, paradoxically if you will, to placing Raúl Lozza among the genuine Classics of our Art".

Rafael Squirru (La Nación)

 

"...decentralization as a line of though of structuralism belongs to a period as a whole, ours. This was published in 1967. Raúl Lozza’s Perceptivism dates back to 1947".

Abraham Haber