The Series What You See Is What It Is emerges from the intersection between the language of U.S. Minimalism and the study of declassified U.S. intelligence archives (1948–1994). From this friction, the works displace the idea of formal neutrality: economy of means, repetition, and the “purity” of the object are put under pressure by the political backdrop of the period and by U.S. intervention in Latin America as recorded in official documents.

Through the appropriation of references associated with Donald Judd, the series treats the object as a contested field. Intelligence documents—inserted as cut acrylic elements or as printed strips—intervene the structure, altering its legibility and making a double scene visible: while an aesthetic of austerity was being consolidated as an avant-garde emblem within institutional circuits, operations and policies were unfolding that would shape the region’s trajectory. The work proposes a reading in which form and archive implicate one another, and in which “seeing” becomes a question of what is concealed, classified, and administered as information.