Angela de la Cruz presents her first solo exhibition in Galería Helga de Alvear. In 1996, she starts to break the paintings. Literally. The canvas, sometimes along with the frame, is wrinkled, deformed, folded, and, finally, broken. Beyond the Fontana-like cut or a mere pictorial resource, De la Cruz submits her paintings to a deliberately physical and willingly transforming process with the decisive aim of extending the limits of the canvas until bringing it close to sculpture. Her intention is not only to abandon the flat surface in favour of the three-dimensional object, but to reveal the passage of the work in this physical process. The result ranges from the sacred and the sublime to irony or tenderness.