The exhibition gathers an extensive list of artists, from Nan Goldin to Jorge Macchi and Ana Gallardo, without forcing them into a unified discourse. Rather than illustrating “farewell” as a theme, the works hover around it, touching on migration, absence, and emotional dislocation from oblique angles. This indirectness is one of the show’s strongest decisions. It avoids the didactic trap that often weakens exhibitions built on affective concepts.

Fischer’s curatorial approach treats space as an active medium. The installation emphasizes silence and pause, allowing the viewer’s body to register gaps as much as presences. There is a persistent sense of delay, as if each work arrives slightly too late or leaves too soon. This temporal dislocation becomes the exhibition’s real subject. The notion of farewell is not staged as an event but as a condition that stretches across time, dissolving any clear before and after.


One of the most compelling moments appears in the inclusion of audiovisual work such as Matilde Marín’s “Travesía”, where migration is rendered through a sequence of faces suspended between departure and arrival. The absence of language intensifies the ambiguity: these figures do not tell their stories, they carry them. The piece resonates with the broader curatorial logic, where meaning is never fixed but constantly deferred.

What ultimately defines “Difícil decir adiós” is its refusal to resolve the emotional tension it evokes. The exhibition does not offer closure, nor does it aestheticize loss into something consumable. Instead, it constructs a perceptual field in which viewers must negotiate their own position in relation to absence. In this sense, the show is less about saying goodbye than about inhabiting the impossibility of doing so.

It is an exhibition that trusts the intelligence of its audience. Not everything is explained, and that is precisely where it gains its weight.