[…] In Baylón we find an artist who, with a direct style, distils the best of his work Anonymous Madrid, a repertoire brimming with sidewalk characters, so visually descriptive that they seem lifted from a text by José Luis Sampedro, Umbral, or from the lyrics of a Sabina song. Counterpoint to these shots are the photographs of Portugal. And yet, true to his trajectory, he returns in the book’s sequence to what is emblematic of his other productions: Afternoon at the Bullring, Two of a Kind, or Animalada. […]

Manuel Falces