When we face the works of Andrés Waissman, Kirsten Mosel, Nora Aslán, Silvana Lacarra, Verónica Gómez and Viviana Zargón, we necessarily think about the evolution of painting in the 20th and 21st centuries, from fluxus to works that move away from the act exact pictorial of the brush with the oil to various supports. In the works of the 90s of these artists, expressive cut could be seen how the pictorial gesture was the protagonist and how the organic forms product of this took over their fabrics loaded with pigment. Keeping this interest clear over the years, they have been "cleaning" their paint to almost exclude, including the pigment, the brush and the fabric of the equation. In one way or another, they let us see the existence of what is behind the support, in that void that seems to disappear in front of the works of art, in the forgotten space that we rarely have access to. And through lines, of cuts, of folds, of that determination to expose the unexposed, they force us to ask ourselves about duality, matter, recesses, Leibniz. They are works, all of them, simply complicated because to get into these subjects that are manifested in a radical way in them, implies to carry out deep theses about the capacity of creation, to take the abstract beyond the figurative to make analogies with the baroque, with the infinite , with space. The works of these artists are full of conversions and investments of identities that, maliciously, mock assigned classifications, often play the game of playing to be others.