Only months after Francesc Torres’ retrospective at the Reina Sofia in Madrid, for which he re-created seven video installations, originally realized between 1977 and 1991, he has returned to his native city, Barcelona, with a new project titled El Carro de Fenc (The hay cart, 1991). Is this increased visibility the product of his growing international acceptance? A consequence of the emergence of a sociopolitical tendency in recent art? Whatever the case, no one can accuse Torres of being an opportunist. For years he has been on the alert, responding to his critical conscience in his “compromise”