This exhibit, which is divided into two different spaces, is a clear example of the work the artist started 10 years ago, a work where both his thoughts and aesthetic discourse focus on language, all its forms (spoken, written, musical and visual) and how we encrypt and encode it. Amorales changes and questions the original use of language by giving it a new meaning and even by creating a unique graphic work.

The whole exhibition is connected, not only visually but also discursively: according to the artist, art should not illustrate thoughts but motivate them." It is an exercise in reconfiguring textual, musical and visual language that gives continuity to his previous works, such as the famous Liquid Archive, or his more recent works, such as the illegible typography he developed to promote the group exhibition Gravity at Casa del Lago (National Autonomous University of Mexico).

The ground floor houses a series of unseen works from 2016 featuring 9 monotypes entitled Open musical scores for cymbals. On the first floor, our first encounter is with the installation Antitropicalia (2017), which includes a large wall painting, graphite güiros (made with 3D printers), 4 güiros, 2 musical scores and three large papers. A screening of one of the artist's most significant videos rounds off the exhibition. The video Orellana's Fantasy (2013) pays tribute to Guatemalan musician Joaquín Orellana (1930), who used sound instruments and tools in an attempt to recreate electroacoustic music, something that fascinated Amorales. The artist was also obsessed with an album cover of the gothic band Bauhaus, which coincidentally featured Orellana with a cymbal. The use of cymbals - highly appreciated by the artist for their great aesthetics – also has a direct connection to one of his most emblematic works, the mobile paying tribute to Calder, a work he produced after having been invited to work as an artist-in-residence at the Calder atelier (Saché, France).