Ixone Sádaba questions the meaning of images and what photography can do now that it has lost its status as an instrument to document reality. Her artistic practice is inspired by Foucault’s thesis about truth as a historical construct and by the distinction between objects and things that Heidegger proposed, which states that an object turns into a thing when it can no longer be used for the purpose it is customarily given.

Eva Fàbregas envisions interaction with art through sensorial experience. Her sculptures, made of soft, ethereal materials like fabric and air, often include sound and beckon us to draw closer through the senses, to discover them through touch, generating an intimacy in which affect can flow.

Linz Diary, by the artist Emily Jacir, is a series of colour photographs taken in 2003 to capture the artist’s action which consisted of walking around a fountain in Linz Square, in Austria.

Many of Ángela de la Cruz’s paintings are presented as extended bodies with clear physicality as she twists the canvases, scratches the fabric or manipulates the supports. This makes each of her works a container of stories where paint takes on a physical and spatial presence.

Buscando guanábana ando yo is the first solo exhibition devoted to Sol Calero at an art centre in Madrid and brings together some of her oeuvre’s central themes and formats. These include the building of collective spaces, which make up a large portion of Calero’s output and draw on her interest in architecture and design.

The Museo CA2M is presenting the first solo show by the artist Santiago Sierra in a Madrid institution. This exhibition consists of a compilation and analysis of one of the most common resources in the practice of Santiago Sierra (Madrid, Spain, 1966) throughout his entire artistic career: pictures of people facing the wall, like inverse ‘portraits’ in which the subject’s identity is negated or dissolved in anomie.

First institutional monographic exhibition dedicated to Jorge Satorre in Spain. His artistic practice addresses the unmapped and ‘minor’ history, either by attending to the intangible heritage of customs and the transmission of stories, or by engaging in more formal approaches through the production methods of traditional manufacturing trades, as well as their places, stories and workers.

Part of a group of figurative women painters like Esther Boix and Isabel Villar, Carmen Pagés’s work reflects openly on social injustices and how power is wielded over the least fortunate in today’s societies.