This is not to say that the outcome may not be an exhibition, but that the moment ofexhibiting may not be confined to, or even involve at all to the presentation of objects in a gal- lery spacetraditionally understood to constitute an exhibi- tion. Curator and theorist Maria Lind has written that thecuratorial consists of ‘signification processes and relation- ships between objects, people, places andideas’ (2010: 64).

Piel de Serpiente came about many conversations we shared with the artists involved in the exhibitionabout the ways of moving forward and re-inventing ourselves and our relationships post- pandemia, inturn, these conversations provided a variety of narratives or experiences explored through the pieces thatwill be presented in the ‘show.’

Over the course of a week inside an old shoe store, piel de serpiente will provide a setting fortransformation, a fluid territory that aims to challenge normative artistic and curatorial practices guided bythe questions proposed in each of the pieces. With sculpture, site specific installation, performance, andhumor, piel de serpiente builds a curatorial narrative that investigates not only the dynamics of humanrelationships in a process of tension but the connections and entanglements across the realms ofvulnerability and representation artists are subjected to.