“By using parts of a car as her primary material, Bursztyn not only recalled their former glamorous life, but also complicated the ideas developed by the Nouveaux Réalistes or contemporaneous artists working under the pop art rubric.

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In these works, Bursztyn points to yet another dimension: her colorful assemblages may be read as allusions to proletarian labor. (...) This association with the working class also invoked the role of men in society. Neither the mechanic nor the worker described above could be other than male in Colombia in the 1960s (...) her adoption of welding as an artistic technique challenged classical gender stereotypes.”