In the late 1960s, the writer Julio Cortázar with The Devil's Drool, the film director Michelangelo Antonioni with Blow-Up and the photographer Duane Michals with his "photo sequences" all began charting a new course, where a photograph was no longer just a frozen fragment of reality but something that had the potential to tell us a story, inviting us to use our imagination and become its narrators. This led to the construction of the fictional photo narrative and to photographers using their imagination to weave stories from various images. With the credibility ascribed to all photographic truth and the inclusion of philosophical, social and human values that are difficult to convey through images, a favourable environment was created for a new concept of photography and a new photographic discourse to emerge.

More recently, the work of photographer Joan Fontcuberta showed us a series of believable, ironic fictions designed to deceive at first glance—a deception which, once detected and understood, forces us to rethink our notion of truth and photographic veracity. Can fiction contain a truth? Can fiction become reality? Can it become reality through photography?

This project is a daring proposal given its element of photographic experimentation and its absurd flirtation with the assumption of an event that may never come to pass. But while we wait to see if it materialises, we can at least think about and reflect upon it.

La última entrega is not just about photography; it is also about communication, about our human drive to rise above solitude and our desperate quest to overcome it, all as a metaphor for disappearance.

The exhibition catalogue features an essay by Jesús Micó entitled "Invisible, Poetic 'Letters to Theo'..."