Ten years separate the first and last of the thirty-eight works in this survey show. Ashamed, 1995, is almost unnoticeable, a small textured stonewashed white canvas, battered around the edges, folded on itself and placed in a corner. Untitled (Hold no. 1), 2005, an aluminum box, human scale, hangs from a filing cabinet attached to the wall, in a precarious balance of the two elements. If the initial work declares the topics that define de la Cruz’s practice—the monochrome; the painting as object; the anthropomorphism underlying these “painting-sculptures”—the final one embodies their consequences.