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. 

The world of Miki Leal is a world of jazz, cinema, the American lifestyle and sport, as well as his family world, his domestic environment and within it his personal belongings.

This exhibition is the result of a selection of works, objects and images as well as newly produced interventions. Many of the pieces in the exhibition are part of the CA2M Museum's collection, although there are also loans from other public and private collections in the country as well as from the selected artists themselves.

El Barro de la Revolución comprises some of the works created by Paloma Polo (Madrid, 1983) after her long stay, or rather her “personal and political immersion” in the Philippines since 2013. It is precisely the last of those works—a film lasting approximately 2 hours 35 minutes—what gives title to the show and functions as its connecting line, while at the same time giving rise to many of the social and political reflections present in other works by Polo during the time she spent in the Philippines.