Even today it is still difficult to establish the boundaries between the visual registry of any piece of art and the force of action it evokes. Nevertheless, when the work of art becomes process to transform itself into an archive within a certain context, art overtakes the document and enters into that ambiguous questioning of the imaginary limits between fiction and reality. This is the meaning of the exhibition presented by Peruvian artist Sonia Cunliffe, based on an investigation carried out by Cuban journalist Maribel Acosta. The nuclear disaster in Chernobyl and the demise of the Soviet Union and Socialism in Eastern Europe are contrasted with an event of great human transcendence such as the medical assistance provided in Cuba for two decades to more than 26 thousand children affected by the tragedy, while the island was undergoing its deepest economic crisis.

This exhibition counterpoints with what is visible or not as aesthetic experience, it intervenes in the way the media constructs its discourses and opens questions about the mutation of information depending on where it is placed. The artist is not obsessed with representing, but instead she presents an historical fact and alters the nature of any established tale in order to enter the interstices of life itself.