These pieces correspond to the study of declassified files of the US Intelligence Services during the period 1948-1994 related to North American Minimalism and propose a revision of the declassified CIA files on fourteen Latin American countries.

In relation to these archives, this group of works also problematizes the contents of American Minimalist art, contrasting the austerity and formal asceticism of that movement with the political violence of the period in which it developed, contrasting the appropriation of iconic works by Donald Judd, which are structurally transformed through the insertion of cut acrylic archives or printed strips that formally intervene them and modify their content. In fact, while the great political operations are taking place in Latin American territory, North American artistic and academic institutions are promoting and disseminating minimalist abstraction as their artistic avant-garde. Thus, several quotations from Donald Judd’s works appear in the exhibition, which are materially intervened by reproductions of intelligence documents