Whiteness. A clean, blinding space painted white enveloped Jesús Martínez Oliva’s installation, Flúidos discontinuos (Discontinuous fluids, 1994). At the entrance to the gallery, a horizontal piece, made of institutional-white power cables, broke through the floor, presenting an engorged form that resembled a penis. In the back, in a room built for this occasion, Martínez Oliva placed three wall pieces made of electromagnetic tape that slowly rotated on rollers and pulleys. The central, penile-shaped piece, and the works around it depicting ambiguously gendered copulation, were decidedly sexual.