EVER SINCE Jesús Palomino began exhibiting some ten years ago, he has displayed an interest in linking his work to architectonic space. At the same time he has been drawn to using varied, heterodox, often discarded materials—ones that are shabby yet aestheticized. And because he has always shown a feeling for color rare among contemporary Spanish artists, the result has been a skillful synthesis of arte povera and Matissean refinement. Since 1998 Palomino has focused on the construction of houses—shanties really: constructions that fall somewhere between assemblage and architecture.