ARCOlisboa, the Portuguese International Contemporary Art Fair, is one of the main contemporary art fairs on the international circuit. Organised by IFEMA, it is held annually in the Portuguese capital, Lisbon. Every year it becomes a meeting place for collectors, gallery owners, artists and professionals from all over the world. For its 2024 edition, we presented a Solo Project in collaboration with Carmen Ortíz Blanco. In 2016, Carmen Ortiz Calvo (Valencia, 1966) began the series Actos y consecuencias, which included both works on canvas and installations. In both cases the dynamics were governed by chance - controlled - and it was the impact of an object that defined the result; the formal explorations of this type of proposal are those that have evolved into the new installation conceived specifically for ARCO Lisbon. In this case, the waves of impact are collected and ‘solicited’ in a black floor, which is shown next to some of the models of the works on white canvas. The insistence on their chromatic construction is not accidental. The ebb and flow between the elements is configured from the tensions and opposites, bringing the idea of cause and effect to a space that replicates itself. At the same time, the modes of formalisation are linked to various traditions, directly to the notion of the minimal and post-minimal through the use of basic forms and the use of certain materials such as canvas and rubber, but also to a much broader tradition that led to or initiated abstraction, that of breaking with the use of allegorical forms to try to reflect non-material realities: ideas, sensations, concepts.... The historiography has always posited this transition or the ‘invention’ of abstraction by linking it to figures such as Kandisky, Malevich and Mondrian. As early as 1984, the art historian Åke Fan claimed Hilma af Klint as its creator, since her works were produced five years before the first works of the artists mentioned, but they are still cited today as pioneers. Hilma af Klint's exploration is not a search for expressive possibilities of form or colour, but an attempt to give form to the invisible. This search is not unrelated to Kandinsky's own exploration, who in 1912 published a text written the previous year: Of the Spiritual in Art. Ortiz's expressive search is also linked to such concerns, with ways of giving form to intangible concepts, inviting the viewer to a sensorial and emotional exploration with his ‘pictorial’ forms without painting.