The main thread that links the work Eugenio Ampudia has created over the course of two long decades in the public eye is a critical examination of the art system, which he accomplishes by making its underlying mechanisms visible. Whether by focusing on individuals who embody the modern and contemporary figure of the artist—Picasso, Dalí, Joan Miró or Beuys, for instance—or by modifying the viewer’s experience within the art institution, Ampudia has explored, discursively and through objects, the role of artists in present-day society and the scope of their commitments in a complex visual universe that can casually swallow them up. He has analysed the variable meaning of the artwork and shown different ways of creating a historical story of art that is equally variable. He has also questioned both the role of the institutional keepers of artworks—galleries, the spaces they provide, and their character—in Espacio habitable (día) (2003), and the givens of art, starting with its symbolic foundations. Throughout this process, Ampudia is acutely aware of the mechanisms that underpin the production, dissemination, commercial promotion and consumption of art, and, though its existence may be denied, the media aura that surrounds it.