This series had a very positive international reception when it was exhibited at the Wilson Center, Smithsonian Institution Building, in Washington D.C. in 1986.
The empty docks refer to the memory of several train stations in Portugal and at the same time to none in particular. They also refer to moments of transition and connection in cinema, in which the narrative is suspended. The catalogue featured an affectionate text by Bruno Munari, that wrote that these paintings "give the observer a feeling of being part of them, of being able to step forward and enter the painting, into the station, where there is nobody not even whoever left the bicycle outside. The train is ready to leave, its door is open. But (this is the enigma of the painting) will it depart?"