No todas las exposiciones comienzan con una imagen. Algunas comienzan con una sensación. En Monsters Paradise: The Becoming of Her Divine Beast, la exposición con la que la artista británica Vanessa Raw inauguró Georgina Pounds Gallery en Ciudad de México, lo primero que se percibe no es una escena, sino un clima. Antes de que la mirada intente descifrar lo que sucede en las pinturas, se instala una atmósfera: algo suspendido entre lo onírico y lo corporal, entre el reposo y una energía más difícil de nombrar.

In Over, Under and In Between at Fondazione Prada in Milan, Mona Hatoum transforms nets, maps, and grids into installations that explore territory, control, and the fragile structures that shape how we understand space.

Born in Mumbai in 1954, Anish Kapoor has spent decades redefining the possibilities of sculpture. After moving to London in the early 1970s, he studied at Hornsey College of Art and later at Chelsea School of Art, where he began developing a practice centered on material, perception and spatial illusion. Over the past four decades and more, Kapoor’s work has ranged from intimate pigment sculptures to monumental public commissions—most famously Cloud Gate in Chicago. Across these different scales, he keeps returning to the same question: how sculpture can reshape the way we experience space.