(…) This exhibition is not only remarkably dedicated to Greece and its colors. It constitutes a further reading of the Greek spirit, novel and original, as it combines the Greek past with the inward soul of a great artist. (…)
(Vivi Vasilopoulou, O Kosmos tou Ependyti, 1-8-2009)

(…) Considered a minor artist in his lifetime, he was posthumously acknowledged as a seminal figure in contemporary art. Today Delvaux’s art is often compared to that of surrealist masters Dali, Rene Magritte and Giorgio de Chirico, whose work he has largely admired (…)
(Christy Papadopoulou, Athens News, 3-7-2009)

(…) An artist that was distrusted from the dominant museums, considering him inconsequential, while today they organize major exhibitions of his work with many readings. (…)
(Dimitra Rouboula, Ethnos on line, 29-6-2009)

(…) Delvaux’s hand was so irreparably stung with the lust of the Greek-Roman myth, that he could as well be Greek. He worshiped gods, mythic creatures and lustful maidens and attempted to bring them in his urban environment. (…)
(Nikos Pitsiladis, METROPOLIS, 26-6-2009)

(…) He modified the symbols and images of antiquity, embedding them with his dreams and the liberating disarray of his imagination. He reattached the remnants and the remains of ancient temples with a seductive disorder. He placed within the magical, grand ruins the wonderful Venuses of his desires, shaping new seductive narratives, composing a hallucinating realism with silent and detached, but openly recognizable, figures. Thus transforming the museum quality of a dull antiquity and the blind, complacent ancestor-worship into a living, pulsating timelessness. (…)
(Giannis Koukoulas, To Pontiki, 25-9-2009)

(…) The scenographic indications of the ancient temples, the anatomic components and the contemporary expressions which coexist with the biblical and the ancient ones, constitute a poetry of ruins, both artistic and social. The reading of the antiquity within the agony and the pursuit of modern man is what is remarkable in Delvaux. (…)
(Maria Nikolaou, Real News, 21-6-2009)

(…) It is an exhibition whose beauty is presumed, while the accompanying catalogue including the writings of Jean Clair, as well as his presence together with all the other personalities at the opening, make this happening unique in the Greek visual arts scene. (…)
(Katerina Zacharopoulou, To Ethnos, 7-6-2009)

(…) The way Delvaux represents the female nudes is so delicate that it feels like an exorcism. There is an eternal poetry in his work, as if he has transcended the soul’s mirror and tasted its loss. Fascinating. (…)
(Giorgos Konstantinidis, Ev Zin, June 2009)