The most extensive sensory organ of the body is the starting point of Marcela Astorga's work. Curated by Silvia Rottenberg, the works were created in situ and proposed to awaken the sensory perception of visitors. The skin is represented in its ambivalence to protect but it also needs to be protected. It covers, and at the same time, it is marked by the traces of the passage of time, like an archive of life.

A narrow corridor invites us to inhabit the experience from a "here and now", the present as a totality, passing between bodies that caress the skin to end up in front of a large installation of frayed textiles scattered on the floor (like roots, waterfalls). One can also appreciate the leather belts or girths that belonged to the Argentine Army, fallen into disuse, woven in wire mesh, as well as what protrudes from the walls from white grids -because the walls listen, know, know-, next to the consultation space of the bases of the victims of State Terrorism.

Or palpate from the visuality and sound (with the pure blow of a bricklayer) the experience of the video installation "Óculo" (Oculus), a project that she has continued to develop since 2019 on houses under demolition. According to the artist, the protection we all long for can be destroyed. Astorga has already worked with the real uses of fur: leather, wool, or horse bristles, trying to show that everything interconnects. For the exhibition, the artist reinforces the idea of the different layers of skin in our environment: our own epidermis-our barrier and bridge to each other and the social, political, and ecological system; our clothing; the home; the social construct; and the earth.

"Desatando la línea de tiempo" interweaves memory, time, and processes to account for creative practices that engage them as social subjects, with results that give rise to installation, sculptural, video, and performance. Astorga incorporates the idea of the skin as a container, but extends it to every possibility of associating skin with form and shelter, playing thoroughly with the exhibition space and the place where he installs his open plots to show.