The pieces that comprise our summer group exhibition, Open Ends, work together to create a stage of multiple possibilities through their forms. Though it may not seem so at first, these objects are never finished, never defined—and their radical beauty lies in this very material and formal open-endedness that leaves loose ends, confuses beginnings with endings, and proposes multiple versions of the same representation.

Provoking each other to enter into dialogue in fortuitous ways, each work reveals in its turn glimpses into its creative process, its limits, and its scope. María García Ibáñez weaves torn paper into nests that are at once not nests at all. She lets the ends of the false threads remain open, neither connecting them nor tying them off, like a tangled mess of wool. Luisa Restrepo’s pieces demonstrate the idea that what we see is in fact not always what we get, an effect she achieves by using glass and mirrors to stimulate a game of reflections and volumes.

Tania Álvarez Zaldivar works from exact mathematic calculations in order to generate an image that is lyrical—almost organic, where the possibilities of expanding the algorithm are infinite.

Finally, Manuel Muñoz G.G.’s inert flower vases reveal in their minimalism a pleasure in contrasting the living. Each one proposes two positions, adapting itself to that one which will sustain it. In this case, the work challenges the clean lines Muñoz uses, offering us an object that is free and ever changing. This time, Cynthia Maldonado, of studio Floristique, has intervened into the objects with her floral designs.

Thus, Open Ends invites you to take an open tour, to be complicit with the object, and to receive the readings and approximations—however many they may be—that it lets loose.

Text by Andrea de Caso