[8] Latin American art scholar Monica Amor wrote that Villanueva's Synthesis of the Arts philosophy, inspired by an André Bloc approach, "advocated a strong humanist approach to urban issues of reconstruction and social healing after the devastation of World War II.

"[9]: 33  Amor noted that debate surrounding the dictatorship's funding of the project, and its realization in this context, persists into the 21st century.

She describes many of the murals on the campus as showing "repetition, discontinuity, compression and expansion, dynamism, rhythmic composition, contrasting shapes, geometric organization, and anti-hierarchical allover-ness.

"[9]: 37 Just inside the main entrance of the Central Library is a stone depicting a petroglyph, carved by ancient indigenous people of Venezuela.

[14] A slightly later statue, La cultura (identified as "Sculpture" in Fraser's book), is more figurative, showing the influence of the European artists designing for the campus on Narváez.

Restorer Fernando de Tovar has described the replica as "ridiculous"; it was made by Silvestre Chacón in 2004, to protect the original, which has significant heritage value.

With the expansion of the city, the road system was made larger, and the statue was moved a short distance to an island between lanes of the highway.

[20] Julio Nicolás Camacho has described the mural on the Museum building of Rectory Plaza poetically, referring to the images as "curtains that imitate waves [and] mountain peaks".

[20] Carranza and Lara wrote that the mural "aims at dematerializing the structure and form" of the museum away from a purely functional grid-like building.

The mural here with horizontal stripes is also considered "melodic", with Ronnie Saravo Sánchez writing that the use of color and the Renaissance influence "link it conceptually with movements such as Cubism and Russian constructivism, [and] served as a support for the creation of a new universe where the figure and background are diluted until reaching an almost abstract stylization".

[19] Bogen lived in Paris from 1948 until 1951, returning to Venezuela to open a gallery with Mateo Manaure and contribute murals to the campus.

[29] Héctor Poleo [es] painted an unnamed fresco during 1953 and 1954 that adorns the wall of the first floor of the Rector's office in the Rectory building.

A detail of the mural was used on a souvenir sheet printed by IPOSTEL in 1983 that celebrated the bicentenary of Simón Bolívar's birth.

[38] Panels of a tall external wall, stacked, each with black vertical stripes that differ in thickness from thinnest at the left to thickest at the right, on a white background.

[3] Pedro León Zapata created a giant mural for the campus, Conductores de Venezuela, constructed over several years and finished in 1999.

One of Antoine Pevsner's Constructivist sculptures, this piece intends to show "unfolding movement in space" and "infinite surface development".

It largely focused on maintaining the integrity of the original as it had been placed, removing salt stains and other damage acquired by exposure.