Embuscado begins his art with a reality of life, and for that matter, history without end, In this regard, as far as cultural and historical sovereignty are concerned, Embuscado nationalistically considered himself as a Malayuan born artist.

1967 - Embuscado founded ''Dissectionalism, Communalism and Compartmentalism.'' In adhering to to the spirit of life, Embuscado discarded the idea of mutilation process like dissecting the frog for aesthetic purpose, and instead, he exhibited the logic of "dissectional art" at "Dayrit Gallery" in Manila.

1969 - Embuscado, while an art student, participated at the Sao Paulo art exhibition in Sao Paulo, Brazil. Embuscado published his book entitled "The Aesthetic of Dissectionalism," a general theory and practice. In keeping with his objective, Embuscado asserted that "Art as a whole must describe not only the political condition of a particular event, but must highlight the necessity of continuous struggle in order to be remained compartmentally structured; naturally, without the modernist and the socialist realist rigid boundary; and, of course, its world-view must be culturally tied with a theory of racial unity."

1984-1985 - In conjunction with Embuscado's art exhibition at "Max Gallery" (now defunct) located at the East Village, he launched side by side, "Dissectional Art," and ''Compartmental Art;" and later on, "Communal Art."

1985 - Embuscado's exhibition catalog entitled "Dissectionalism in The Nuclear Age," was listed in the "85-86 Annual Guide'' Issue of "Art in America" p.308 "Out of the East Village," Will Grant wrote, ("Artspeak" 1985) "Embuscado, continues to proclaim his aesthetic Credo of Dissectionalism in new works at Max galley." In "Dissectionalism in The Nuclear Age," (exhibition catalog) Embuscado says: "Dissectionalism begins by bringing out a new form of life in art, a new world of freedom, a dissectional consciousness, a spatial relationship between art and logic."

In chronicling the historical perspective of Embuscado's aesthetic struggle as the first artist-theorist (without a doubt) who "revolutionize and declared the independence of American Art (in particular) and global art (in general) from the old Socialist Realism to the "new" fragmented art movement,'" he distinctively pointed out the historical necessity of compartmentalizing the polarities of art and life: from socio-political perspective, in a dissectional sense, to communal ethnic diversity. And for this remarkable reason, he irregularly publishes "Dissectional Review," "Compartmental Arts" and "Tambakan Times." Embuscado's "work" as the former "National Interest" Executive Editor, Adam Garfinkel says is: "energetic and informative."

1989 - Embuscado began documenting and exhibiting his work in "Smokey Mountain," a huge dumping ground in Tondo' Manila. In 1992, Embuscado, as an artist-theorist, taught the reality of "communal art" as part of a garbage-life to the community of "Smokey mountain" people; especially, to their children.

Embuscado's work infuriated the "Philippine" authorities when he scavenged the poor's inseparable existence from a garbage of life. He protested, exposed and exhibited this inhumanity, both in his writing and art. His political-art exhibition in the Summer of 1992 was censored both by the government and the "National Museum."

2000 - Embuscado published "Compartmental Art" and declared the "Independence of American art." Embuscado's declaration of "American Art Independence" is a kind of life, democratically founded on ethnic diversity, and his "theory" gives us an esthetic, historical social and political representation of the 21st century. Embuscado said that "American art, in particular and global art in general, may not be exactly alike, but the true foundation of art and culture lies in the civilized or uncivilized world where everything directly appeared in common because they are compartmentally structured." Embuscado's "compartmental art" exemplifies this generality. Embuscado's "declaration" was characterized by a communal human intercourse, and a dissectional beginning toward the unity of the ethnic (cultural and art) diversity. Significantly, Embuscado's "Declaration of American art independence'' is an authentic creation: "Compartmentally" relevant and significant.

ln this art exhibition, Embuscado's "work" painted after the line of ''dissectional-communal'' view were an expression of life that, of course, had dwelled on the ground of a compartmental degree. As a whole, Embuscado's "work " was filled with the historical vividness of a dissectional consciousness, in which its form and content were stimulated, dominated and outstripped by a logical force; and, strongly established a humanized act woven entirely, at the communal stages of their development, on a moral ground where diversity grows into the strings of compartmentality in art and culture.