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.

This proposal invites visitors to reflect on the world's environmental crisis. Particularly in Argentina, approximately 49,300 tons of waste are generated daily. This is equivalent to about 18 million tons per year. The production of goods, wealth, and by extension of subjectivities, has an unavoidable counterpart, a forced complement: the production of waste, leftovers, and surplus. Now, as leftovers, they persist, they are transformed in the most diverse ways: as polluting agents of the environment, as elements to be recycled and reinserted in the market, as raw material for the most basic survival, or, as materials available for their poetic usufruct.

In this last instance, it is possible to inscribe Julia Padilla's approach to this category of objects. Her sensitivity is attentive to the dimension of the residual in collective life. If we bear in mind that the etymology of the term investigates refers to vestigial (trace, ruin), the keys to the research that the artist carries out on waste go back to the interior of the perspectives that they are capable of expressing, they go beyond the closure of their original and obsolete function and take advantage of the possibilities of conjugation and transformation of all kinds of materiality. By making them be seen again, by making them awaken other valences, he makes them exist in different ways and their new realities become thicker.