This exhibition opens questions in several directions, forming at the same time its own hypothesis through a selection of work, its own exhibiting strategy and a theoretical corpus. The intention, for better or worse, is to bring together practices named and previously tested in the official circuit of galleries, museums and international biennials, in order to fix and confirm these within the market itself. In turn, the high level of production and consumption involving important sums of money for carrying out many of these works, executed under processes similar to those used, for example, by the commercial cinematographic industry, is remarkable. From the complex and costly staging by the New York photographer Gregory Crewdson, through to the controversial remunerated activities recorded by Santiago Sierra, to the gigantic backlight of Jeff Wall, these works testify to a highly professionalized form of artistic expression, interwoven with the economic flow of the global market. An art conceived from technological progress which, in turn, utilizes specialized materials and resources in all stages of its production. In this sense, it would seem that the Project for integrating art with society, arte-vida, put forward by the artistic vanguard at the beginning of the twentieth century, has developed into this type of inter-dependence, designing the hybrid condition of today’s art and dissolving into the mechanisms of the market.