Formally, the esthetic language of Cristina Iglesias, a member of the new generation of Spanish sculptors, has evolved gradually, without radical changes, since she first began to exhibit in the early ’80s. Her repertory of materials has grown from the early work’s cement and iron to include glass, which appeared in 1986, and more recently weavings, wood, such metals as copper and zinc, and other additions, all of which have contributed to a diversification of her expressive and technical resources. Without losing any of its former ambiguity, Iglesias’ sculpture now incorporates direct references