Angela de la Cruz confronts the traditional boundaries of sculpture and painting, subjecting her works to violent interventions before they arrive at their finished state. In 1996, she first cut a painting from its stretcher and hung it in a corner (titled Ashamed) , where it assumed the qualities of an object while retaining the characteristics of a painting. Her works on canvas and aluminum appear fallen, gutted, crumpled, or collapsed, removed from what she terms painting's "grandiosity."