“María Simón shows us “Hombre” (“Man”), an iron piece from 1973. As in the case of Rubio Camín, this sculpture is based on the splitting of a piece. It achieves, within the plane, the production in depth. The spatial problem is solved by folding the iron sheet and making the perforation that incorporates space as matter. This is the summary, or compendium, of the new sculpture that seeks new communications. María Simón, in a sober way, shows us the great richness and possibilities of the plane in sculpture.”
Westerdahl, E. (1973). La 1ª Exposición Internacional de Escultura en la calle, en Santa Cruz de Tenerife. Quaderns d’arquitectura i urbanisme, ISSN 1133-8857, Nº. 99. Número dedicado a los parques naturales, 47-5
“Another sculptor, born in Tucumán and also, like Penalba, a resident in the French capital, María Simón, remains on the Rambla de los Reyes Católicos through the open lock on the chest of her Hombre (Man), an iron piece from 1973, impregnated with that unfathomable metallic mystery of a defiant robot.”
Hernández Perera, J. (1996). Dos décadas de Esculturas en la Calle. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 25-54). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6
“Splendid was the Spanish-American contribution, (…)Venezuelan Jesús R. Soto (b. 1923), with his playful Penetrable, in line with his kinetic-luminescent research, and Argentinian María Simón (b. 1922), who, sometimes related to the former, is more constructivist and mechanistic with her Hombre (1973)”
Pérez Reyes, C. (1996). Reflexión sobre lo visto y lo vivido. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 65-76). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6