‘How can one construct physical objects that derive from, and in some way refer to, pure immateriality?’1 This imponderable question is the obsession that has driven the artistic research of Sergi Aguilar (Barcelona, 1946). The exhibition Sergi Aguilar. Reverse/Obverse (1972–2015) brings together at the Museu d’Art Contemporani de Barcelona more than sixty of Aguilar’s works spanning four decades of his artistic creation. Structured around five episodes or sections that create a dialogue between the pieces and the thematic cycles of different periods, this is the largest ever exhibition to be dedicated to the work of Aguilar. The atmosphere of the artist’s studio has been reconstructed at MACBA. Far from proposing a chronological narrative, it recreates the dynamics of the artist’s studio, resulting in an almost infinite web of possible and random relationships between the works. The exhibition, which

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