In this show, David Escalona urges us to set aside logic and instead use our senses to examine the elements he presents—the sculptures carefully arranged throughout the space, the video shown on the monitor, the images reflected in the large mirror, the music playing in the background, the smell of the grain scattered on the floor—as well as the glass screen that offers us stunning views of the dock, the ships and passengers coming and going, and the way the sunlight shifts throughout the day.

We must also give up our habit of trying to figure out "what a work means or doesn't mean", attempting to unravel metaphors and find analogies or connections between the works: a golden wheelchair on a circle of wheat with birds, ballet barres with gold Braille inscriptions, a trumpet and a doorknob (also golden), a shiny pair of patent leather shoes whose soles rest on a cane buried in the wheat, a heavy classical sculpture of a legless Mercury, supported and caressed by three people—not to mention how all of this may be related to Alberti's poetry or the words and drawings of The Diary of Frida Kahlo. We must also consider the ancient mythology of our Mediterranean culture (Apollo, Hermes, Ceres) and the history of the place where the Espacio INICIARTE building stands in El Palmeral de las Sorpresas, formerly the site of the Málaga port grain silos, where wheat was unloaded from ships and stored to feed the city during the harsh post-Civil War years. In addition, we must be attuned to the memories, desires and fears that the exhibition may stir in us before, during and after we visit it. As Frida Kahlo said, "Feet, what do I want them for if I have wings to fly?"

The exhibition catalogue contains an essay by Alberto Ruiz de Samaniego entitled "Hymns, Wings and Blows Explained".