The exhibition is drenched in a deep pink hue that resonates with the sensuality and violence of the pieces. Códega uses unconventional pigments—banana, lemon, tar—on repoussé metal, leather, collage, and video. Her monsters, saints, and warriors move between the grotesque and the mythical, conjuring images of a soldier-skeleton fighting serpents or a bishop-menaced chimera with theatrical power.

Códega draws from pre-Columbian cosmology, medieval iconography, and Latin American muralism, yet everything feels fiercely personal. Her work resists the colonial canon by reviving marginalized visions—pagan, epic, and feminist. The materials themselves carry political force: burned pumpkin and crushed fruit evoke devoured bodies and territories.

Some of the strongest moments are sculptural: gourds split open like corpses suggest children killed in the War of the Triple Alliance, transforming organic matter into testimony. Barbero describes the works as “epic battles painted with lemon and tar,” a phrase that captures the balance of intimacy and fury at the core of Códega’s practice.