Nuria Fuster’s stylistic repertoire ranges from post-Minimalism (especially the legacy of Joseph Beuys and Robert Rauschenberg) to classical sculpture, yet she is as sensitive to the formal and narrative possibilities of quotidian objects and spaces as she is to these art-historical references. Born in Alcoy, in the southeast of Spain, in 1978, she recently moved to Berlin, where she has refined her approach to objecthood and honed a sculptural syntax that expands her vocabulary to a more installation-based practice, granting more importance to the recontextualization of objects than to their

Patricia Gadea died in 2006 at the age of forty-six. Though she was fairly well known in the 1980s and early ’90s, her late work has been seen only occasionally—owing, perhaps, to changes in the style of her work and her decision to distance herself from the art world by moving to Palencia, a small city in the north of Spain where she supported herself by giving art lessons to children and caring for the elderly. Her recent exhibition in Madrid, “Patricia’s War,” was the first in six years. Though not a large show, it encompassed more than twenty years of production, from 1984 until her