The artist's process also entails the consideration of the audience, environment, and culture in which audience members will experience the work. The artist states, "I work for others, as I work for myself, but my idea is that the work gets a reaction from the viewer because every work has something about us, but also something that modifies us, something new."
Hersúa implemented a very original interaction between the spectator, geometry, perception of space and color in monumental sculptures such as "Ambiente circular" and "Ambiente rectangular" both from 1973, and of which Ruiz-Healy Art exhibits the original models, works that echo the “theatricality” of minimalism, whose literalness broke the line between reality and art, a criticism raised by Michael Fried in his seminal essay, "Art and objecthood," 1967