The first impression one had upon entering this exhibition of Federico Guzmán’s works was a feeling of confusion. On the walls, separated from each other, an uneven group of pieces made of asphalt and paint on canvas presented signs that alluded to the boundaries of writing and public relations; perhaps this was the remains of a more complex network of symbols now nearly reduced to minimum expression. To what did that network of symbols refer?

For some time now, as a result of a collective project in which he participated in 1992 called the Cápsula de tiempo Córdoba (Cordoba time capsule), Guzmán