On December 16, 1989, a car bomb destroyed the DAS headquarters in Bogotá. One survivor was the artist’s mother, whose testimony remained private for decades. The installation takes that account — not the archive, not the media — as its structural basis: canonical Western paintings subjected to the logic of the explosion, their compositions detonated from within.

The choice is deliberate. The visual grammar through which political violence has been monumentalized derives largely from Western painting. This work applies that grammar to its own undoing.