Martí Anson’s work is rooted in the conceptual tradition and addresses issues related to the nature of art and the processes by which it is produced. The artist’s videos, installations and photographs engage viewers, whose experience is central to his work, drawing them into spaces where time has been altered and frustrating their perceptual expectations. A good example of this is L’apartament (2002), a full-scale model built according to the principles set out in manuals of best practices in architecture and decoration. The unorthodox layout of the resulting space contradicts the conventions of our own experience. Anson also focuses on exploring paradoxes related to time as a force that drives work. In Fitzcarraldo (2005), for example, the artist spent fifty-five days building a boat in a space it could not possibly be removed from. His replicas and simulations invite us to question the logic that underlies things and to take an ironic view of the work of artists and institutions.