In spite of the heterogeneity of the ensemble, there is a common and shared resonance related to the mythological and the grid.1 The grid starts to be present in the collective tissue of the avant-garde the moment that cubism throws the first stone to the window and perspective gets broken, denied. The physical and the aesthetical, reality and representation, life and art meet and converge at the same point. They become the same thing. And to deal with this paradox the modern myth was given birth.
Juan Gris’ Verre et citron becomes the first link of this chain of reactions in search of fracture and dislocation. Gris’ painting, created in 1920, establishes a clear dialogue with Joaquín Torres García’s Tabla de madera y pintura roja as they share multiple elements in common such as its wooden base or their will to project the surface of the painting or of the material. A small gouache painted by Miró, dedicated to his friend and art critic Maurice Raynal – who was notoriously portrait by Gris in 1911 –, concludes the first room of the exhibition.