Y tú, ¿por qué eres negro? (And you, why are you black?) is an open, personal and collective archive of the construction of Blackness as a political force in Spain which can be approached in many ways. It is a dispositif to construct a history of our own but also an educational tool aimed at racialised audiences and an instrument of empowerment placing Afro- at the centre.

On view in the museum lobby, The Pudic Relation Between Machine and Plant, 2016, a piece by the New York based Portuguese artist Pedro Neves Marques (Lisbon, 1984), consists of a video made with the King’s College Centre for Robotics Research in which a sensitive plant, a Mimosa Pudica, reacts in contact with a robotic arm, closing every time the cyborg limb touches it.

Lanceta defends the importance of weaving techniques and advocates placing weaving on a par with painting and sculpture. She argues that the “peripheral position of fabrics is not just metaphorical, but a reality, because societies that still weave are also peripheral

Made by Jacobo Castellano between 2004 and 2005, Casa is one of the artist’s first sculptural pieces. Based on his grandparent’s now abandoned house in a village in Jaen

Fernando Sánchez Castillo’s work casts a critical gaze over history, both ancient and recent, while at once examining art’s role in depicting and shaping our view of it. The exhibition title, Más allá or Beyond in English, suggests manifold readings.

It’s Possible Because It’s Possible brings together a series of pieces by Raqs Media Collective, a group of artists created in 1992 by Jeebesh Bagchi (1966), Monica Narula (1969) and Shuddhabrata Sengupta (1968).