Juan Muñoz’s recent retrospective, his first exhibition in Madrid in a number of years, contained numerous drawings, as well as sculpture. Muñoz’s central concerns, however—a tension between opposites, narrative ambiguity, and a scenographic quality—are most clearly articulated in his sculptural works.

The work in the show followed an easily traceable trajectory. After creating more two-dimensional pieces during the ’80s, starting with Balcones (Balconies, 1984) Muñoz began to produce three-dimensional abstractions with dramatically juxtaposed elements. He later introduced human figures—perhaps