The Museo Reina Sofía presents a selection of more than fifty participatory, reconfigurable and conceptually driven works by Felix Gonzalez-Torres, activating a contemporary reading of his practice that exceeds both curatorial boundaries and established discursive frameworks.

The Santander-based institution proposes a curatorial reading of Marisol through a major retrospective of her drawing practice, understood as a fundamental axis of her work and as a means of articulating the knowledge acquired through her vital displacements.

The Spanish Pavilion at the Biennale is transformed into an anti-museum led by the Catalan artist, grounded in the accumulation of postcards, memory, and a critique of the archive.

Fundación, by Marlon de Azambuja, transforms one of La Casa Encendida’s towers into a walk-through sculptural installation. Aiming to reflect on the act of founding and the search for what underpins knowledge, the work questions the divisions between reason and sensation and proposes the exhibition space as an experiential environment.

The Argentine artist connects memory and identity in a large-scale installation commissioned by Whitechapel Gallery, where adobe sculptures and collected objects examine the experience of displacement through a contemporary archaeological lens.

Supported by Collegium, the acclaimed installation by the Brazilian artist arrives in Spain with a sensorial and contemplative proposal in dialogue with the Church of San Miguel in Arévalo.

Inspired by Lélia Gonzalez’s concept of “amefricanity,” Seville once again engages with the Jorge M. Pérez collection, bringing together American and African artists and proposals to question the historical, symbolic, and aesthetic links across both sides of the Atlantic.

Peruvian artist Wynnie Mynerva explores migration, love, and resistance in Berlin through Andean cosmology and social thought, interrogating which bodies become legible within regimes of recognition and how forms of attachment persist amid conditions of violence and exclusion.

Artium brings back into the artistic debate the trajectory of Juana Fernández Cima, a body of work shaped by dissidence, identity, and spirituality that was progressively marginalized from the dominant artistic narrative.

The Mexican artist reinterprets colonial-themed prints by Theodor de Bry to question the construction of otherness and denounce neocolonial violence and contemporary conflicts.

Nombrar el mundo reconsiders painting through a political and affective perspective, expanding the canvas as textile toward sculptural and sonic dimensions as a gesture of resistance.

The Madrid gallery delves into the evolution through which Ester Chacón Ávila moved from design to sculpture, reclaiming both the artist’s figure and textile practice as a fully contemporary language.

The Castilian institution examines Matías Ercole’s conception of space as a cultural construction where identity and emotion converge, encouraging a rethinking of perception and interaction with the environment.

In HIPERASIA, Chilean artist Patrick Hamilton examines post-capitalism, consumerism, and neoliberalism through the formal premises of geometric abstraction and minimalism, while reflecting on cultural banalization and contemporary global dynamics.

Enrique Ježik and Matías Costa address violence, memory, and exile in Elche, highlighting the connections shaped by displacement.

The Swiss institution presents an extensive survey spanning five decades of the Venezuelan-born artist’s production, highlighting her ironic focus on power and mass culture.

The trajectory of Regina Silveira is presented in Madrid through her main conceptual frameworks, through which she questions reality and established social structures.

A major exhibition at C/O Berlin traces more than five decades of the Mexican photographer’s career, presenting over 250 works including her most iconic series.

Jorge Volpi, after one year as Artistic Director of Contemporánea Condeduque, reflects on programming through a multidisciplinary narrative and how it fosters dialogue while giving Latin American art a central role in Madrid’s cultural scene.

The exhibition presented at the Irish institution showcases an artist who reflects on the interrelation between humanity and nature and advocates listening as a path toward transformation through memory and connection.

The first retrospective in Spain of Gabriela Bettini reflects on absence and the politics of forgetting through images that challenge official history.

The exhibition, originally conceived to represent Chile at the Venice Biennale, reflects on memory and landscape through a dialogue between the Atacama Desert and Mars.

La lechuza de Minerva reflects on the power of cultural institutions in the contemporary context and creates a space where proposals by Dagoberto Rodríguez, Regina Silveira, and Los Carpinteros, among others, coexist in order to re-read the trajectory of the institution itself.

The exhibition brings together works created ad hoc by the artist in the city. Through them, she reinterprets craft and tradition from a contemporary perspective and invites the audience to understand sound as a language that redefines our relationship with the environment.