The installation is a reference to the series of minimalist works that Donald Judd made in the late 1960s and 1970s and comprises the same dimensions and materials. However, its vertical alignment is slightly displaced by small movements that disarrange it.

Inside are layers of colored acrylics containing files declassified by the US intelligence services of 12 Latin American countries, particularly documents corresponding to the plots of coups d’états that occurred in the same decades of production of Donald Judd’s work. This information circulated under the condition of secrecy until it was declassified in the first decade of the 21st century. The content of the files shows the objective of destabilizing democratic governments in the region and its social and economic consequences.

The archives are text and image documents, many of them redacted, from Argentina, Brazil, Chile, Bolivia, Colombia, Venezuela, Uruguay, Paraguay, Peru, Nicaragua, Guatemala, and Mexico.

The work proposes a political approach to Minimalism that occurred in a historical context of celebration of industrialization in North America, at the same time as the intrigues of power that gave rise to the coups in Latin America, proposing a tension between form and content synthesized in its title “Lo que ves es lo que es” (What you see is what it is), a famous Minimalist phrase.