In Raúl Domínguez’s “Media hora de sol” (Half an Hour of Sunshine), dozens of untitled drawings (all works 2022) covered one wall of a large hallway, scattered like dandelion seeds caught in an updraft. Most of these appeared on standard white A4 paper, taped to the wall, or else slipped into slightly crinkled plastic binder sleeves that were hung from pins. Beneath them, scrawled directly onto the wall, mural-size graphite enlargements of other drawings similarly depicted doodle-like scenes from the artist’s beguiling, polyamorous Eden. The drawings were not presented in a linear fashion, yet