Since the mid ’60s, Alberto Heredia has been creating a series of objects he calls “toys,” which maintains a double and organic relation to the rest of his work. They are, at once, the intimate version of his large sculptures, but made entirely of humble materials—wire, cardboard, blindfolds, industrial paint, and found objects—and the presentation of the formless through a play of materials that constitutes, above all, a political statement. Since 1963, when Heredia presented his Cajes de Camembert (Camembert boxes, 1961)—15 circular boxes that when opened revealed an intimidating collection