This exceptional experience in Paris lasted almost five years, and played a decisive role in our artist´s work in that it permitted him to intervene in the most prestigious events in plastic arts. Macedonio, with the resolute support of his friends, had the opportunity to exhibit his work at the Autumn Room in 1928 and at the Independents Room in 1929. César Vallejo commented, in an article sent in May 1929 to the magazine Mundial in Lima, that Macedonio de la Torre- who had sent his work to the Autumn Room only upon the insistence of his friends- has stirred up debates amongst the French critics that are worthy of a true renovator in painting. Critics in Paris did not limit themselves to their customary praise, but instead used Macedonio´s work as a platform to discuss how to best praise a creator. “ It is worthwhile- says “La Revue Moderne”- to point out to this excellent artist that he is traveling a dangerous path. The artist will be unable to produce artwork that stands the test of time if he ignores reality to pursue elliptical and abbreviated forms of expressing his thoughts and emotions. In contrast, “L’Art Vivant” was of the opinion that “ his landscape painting of Vances is within the limits of a healthy artistic formula and the almost classical spirit of balance of art that he has achieved is not an isolated and fortuitous fact in Macedonio´s de la Torre´s work, but instead a dominant characteristic on his canvasses.” All of this proves that Macedonio de la Torre is the sovereign owner of a truly original and great esthetic.

Decades later, in 1987, Juan Manuel Ugarte Eléspuru wrote the following thoughts on Macedonio´s participation in these exhibition halls: Macedonio´s exhibition in the Autumn Room “is a sign of merit” given that one must first be accepted as an exhibitor;” on the other hand, “the Independents Room,” although open to all, is actually the site of greater competition between vanguard artists.