Two basic elements made up Liliana Moro's installation, “ ”, 2001. The first was a material, glass, fragments of which covered the floors of the gallery's four rooms and crunched underfoot. You could say that the sharp, dry noise of the shards' continual shattering occupied the space as much as the sole object on display, also made of glass: a baby's crib, which stood as a cold, empty, and solitary presence in the middle of the last room. The second element was nothing more than a hole in the wall between two rooms. At first barely visible and seemingly negligible, this intervention in the