The presence of women artists in the contemporary art circuit remains marked by structural inequality that, although showing recent progress, still reveals a significant gender gap. According to the 2024 Contemporary Art Market Report by Artprice, female artists have gained greater visibility and prominence in the market. Between 2023 and 2024, seven women ranked among the top ten ultra-contemporary artists by auction revenue, and the number of transactions involving their work has tripled over the past decade, reaching record levels in 2023. However, these advances, while encouraging, remain insufficient when analyzed from a global perspective, underscoring an urgent need for more equitable and sustained representation. In this context of transformation, change has been driven by a critical reassessment of art history and the commitment of key stakeholders in the cultural ecosystem. Women artists, who have historically been marginalized, are now emerging as a force challenging established norms.

Art Madrid’25 strengthens its commitment to showcasing women artists by bringing together twenty creators from diverse generations and geographies - including Spain, Portugal, Brazil, Cuba, Peru, Taiwan, Germany, Sudan, Argentina, and Mexico - to highlight their strength and authenticity. This selection prioritizes not only the quality of their proposals but also their ability to engage viewers, inviting us to understand art as a plural and essential territory. Through this initiative, we invite both collectors and the public to discover and value a multiplicity of perspectives that, when brought together, enrich the contemporary art landscape.

Alba Lorente. C4 and C5. 2024. Chinese ink and cardboard on masking tape. 70 x 92 cm.

ALBA LORENTE. Carmen Terreros Gallery

Alba Lorente (Zaragoza, 1994) lives and works in Madrid, although she maintains a strong connection with her hometown. She holds a degree in Fine Arts from the University of Zaragoza, a Master's in Interdisciplinary Artistic Production from the University of Granada, and a PhD in Fine Arts from the University of the Basque Country. Her career has continuously grown. She has been recognized with important awards, such as the fellowship at Casa Velázquez and the award for the best Aragonese artist in 2023. Her work is based on the deconstruction and regeneration of materials, using white and Chinese ink. Influenced by the destructive aesthetics of some Latin American artists from the 1960s, she addresses destruction as a form of creation and a way to channel the most intense human impulses.

Ana Cardoso. ST. Acrylic on MDF.. 2022. 100 X 100 cm.

ANA CARDOSO. São Mamede Gallery

Ana Cardoso (Porto, 1980) is one of the most singular voices in contemporary Portuguese art. She holds a degree in Fine Arts from ESAP and a PhD in Art and Design from FBAUP. Her career combines academic rigor with a creativity that continues to evolve. In her work, the dialogue between the figurative and the abstract stands out through a composition that combines the serenity of the landscape with the presence of objects or human bodies. She uses formal simplification to invite the viewer to reflect on time and memory, exploring how everyday objects can become carriers of emotional and identity-based meaning.

Ana Pérez Ventura. Chopin, Étude op. 25nº1, m.112. 2024. Perforated wood, colorless acrylic varnish. 40 x 40 cm.

ANA PÉREZ VENTURA. Metro Gallery

Ana Pérez Ventura (Santiago de Compostela, 1981) is a visual artist deeply influenced by her training as a classical pianist. Her work, focused on painting, seeks to translate the ephemeral essence of time, characteristic of music, into tangible visual forms. Through rhythmic repetition, almost metronomic, she creates an organic record of the passage of time, transforming the intangible into something concrete and palpable. With studies in Fine Arts and Music in Vigo, Barcelona, Amsterdam, and the Sorbonne in Paris, where she obtained a Master's degree in 2011, she has dedicated her life to exploring the dialogue between the visual arts and music, transforming the ephemeral into the tangible and giving form and substance to the elusive nature of time.

Brenda Cabrera. Moment of a Burning Garden. 2024. Acrylic on canvas. 81 cm x 57,2 cm.

BRENDA CABRERA. Collage Habana

Brenda Cabrera (Havana, Cuba, 1997) is a visual artist and designer who graduated from the San Alejandro Academy and the University of the Arts (ISA). Her work spans various disciplines such as drawing, painting, and NFTs, but it is her creation of a unique universe that distinguishes her: the Prototypes. These hybrid characters design their own coexistence policies within an autonomous ecosystem that, through a reinterpretation of gender roles, domestic politics, and identity construction in contemporary life, explores the complex relationships between the individual and the collective. The artist builds her imagery from childhood memories, marked by the visual and material traces of the former Soviet Union, as well as familiar objects that shape her artistic vision.

Anna Guilhermina. Samaúma. 2024. UV print on wood panel. 79 x 79 cm.

ANNA GUILHERMINA. Jackie Shor Projects

Anna Guilhermina (Brazil, 1980) creates impossible landscapes that exist between dream and reality. With a background that spans from Architecture and Urbanism to photography and contemporary art, she has developed a deeply experimental body of work that dissects nature into visual and material layers. Her artistic language, marked by montage and fragmentation, combines elements such as wood, glass, copper, and acrylic to create settings that challenge perception. These landscapes not only reveal an interest in the layering of forms and textures, but also propose a dialogue between figuration and materials, oscillating between solidity and evanescence.

Inés Jimm. Nudism. 2024. Oil on cotton. 73 x 80 cm.

INÉS JIMM. Canal Gallery

Inés Jimm (Seville, 1996) has made vulnerability the central theme of her work, where dreams are presented as a space of absolute freedom. With a Master's degree in Digital Art and Illustration (2020) and a Master's in 2D Animation (2021) from Trazos School, Jimm has perfected her technique, using oil painting to capture the precise moment when bodies shed their roles and masks, revealing their utmost fragility. Dark circles, recurrent in her compositions, are not just a physical trait but an autobiographical reflection of existential fatigue and the tension between rest and awakening. Her style, influenced by Sorolla and Freud, invites the viewer to question the intimacy of such private moments, generating a discomfort that challenges the boundaries of observation.

Carolina Bazo - Selva Roja. 2022. Photo-performance, printed on cotton paper. 42 x 28 cm.

CAROLINA BAZO. O Art Project

Carolina Bazo (Lima, Peru, 1968) is one of the most prominent voices in contemporary Peruvian art, whose works have crossed borders to be showcased on international stages. She studied painting at the Pontifical Catholic University of Peru (PUCP) and refined her technique at the Akademie der Bildenden Künste in Munich, Germany. Her work, which spans from printmaking to sculpture and installation, is characterized by a constant reflection on identity and memory. In the 1990s, during a time of political and social turmoil in Peru, her work became linked to feminist activism, challenging imposed narratives and questioning the misogyny of Lima's cultural sphere. Bazo’s work not only challenges social structures but also invites the viewer to inhabit a space between playfulness and depth, between fullness and emptiness, between what is visible and what remains hidden.

Suling Wang. Root of Wisdom. 2022-2023. Acrylic and oil on canvas. 176 x 176 cm.

SULING WANG. CHINI Gallery

Suling Wang (Taichung, Taiwan, 1963) began at an early age to weave a complex relationship in her mind between the worlds that shaped her: the East, where she grew up near the Dajia River, and the West, which she embraced when she studied at Central Saint Martins and the Royal College of Art in London. Through her large abstract paintings, Wang merges these seemingly opposite universes, creating her own visual language that transcends cultural boundaries. After two decades in London, where her art gained international recognition, Suling Wang returned to the small town of Taichung, where she rediscovered the stillness she needed to continue her exploration. Her paintings, now part of significant international collections such as those of the Guggenheim in New York and MOCA in Los Angeles, are not only a fusion of techniques and traditions but also a profound reflection on time, space, and memory.

Claudia Doring Baez. Richard Pousette Dart - Thad Jones, 1955. 2023. Oil on canvas. 72 x 55.88 cm.

CLAUDIA DORING BAEZ. O Art Project

Claudia Doring Báez (Mexico City, 1956) has developed most of her career in New York, where she has established herself as one of the most significant voices in contemporary painting. Her work is a constant dialogue with the history of art and literature, a conversation that, through an expressionist and renewed language, becomes personal and unique. Claudia adopts and reinterprets details from the works of great artists of past centuries, from German Expressionism to the poetry of Marcel Proust, through Titian, Fra Angelico, and Vermeer. Through this process of appropriation and recreation, she creates work that not only dialogues with the past but also transforms it, taking tradition to a new ground, full of emotion and depth.

Tatiana Blanqué. Electromagnetic Interferences in Nature. 2023. Oil and permanent marker on a strip of original artwork. 38 x 68 cm.

TATIANA BLANQUÉ. Espiral Gallery

Tatiana Blanqué (Sant Cugat del Vallès, Barcelona, 1971) is a highly regarded visual artist both nationally and internationally. Her studies in Fine Arts at the University of Barcelona marked the beginning of a career dedicated to painting and sculpture. Coming from a family involved in fashion and photography, Blanqué has been immersed in creativity since her childhood. The artist seeks to encapsulate small fragments of reality, observing the interaction between people and their surroundings in geometrically ordered spaces that allow for personal reflection. Her work is characterized by the use of white and timeless settings that invite the viewer to interpret what they find within them.

Francesca Poza. Silence. When Silence Illuminates Our Gaze. The Words Dissolve... Dedicated to all people suffering from Alzheimer’s. 2023. 300g Hahnemühle paper. Dyed Tarlatan. 50 x 50 cm.

FRANCESCA POZA. Alba Cabrera Gallery

Francesca Poza (Mataró, 1965) has developed an artistic body of work that is, above all, an exercise in resistance against forgetting. Her training in printmaking and pastels, combined with studies in graphic design and forging, has led her to a constant process of experimentation with paper. She is known for her ability to transform simple materials, such as recycled paper, into pieces loaded with meaning and emotion. Founder of the Deep Editions publishing house and the GAP artist group, Poza has also been a teacher, imparting her knowledge in various workshops and associations, including the School of Art and Design Deià in Barcelona and the Catalan Association "La Llar" for those affected by Multiple Sclerosis. Her work has been recognized in numerous solo and group exhibitions, both in Spain and southern France.

Inés Rubio Roa. Hangover in the Jungle. 2024. Oil on canvas and embroidered thread. 100 x 150 cm.

INÉS RUBIO ROA. Moret Art

Inés Rubio Roa (Madrid, 1996) is a visual artist from Madrid with a double degree in Fine Arts and Architecture. In her work, figurative art becomes a way to shape a dreamlike universe filled with elements rich in personal symbolism and nostalgia. Her approach moves between surrealism and empiricism, merging free imagination with the observation of the tangible world. For her, painting is an act of exploration, a means to convey fleeting yet intense sensations, always seeking a connection that transcends the time and materiality of the artwork.

Joana Gacho. ST. 2023. Mixed technique on paper. 33 x 65 cm.

JOANA GACHO. Trema Arte Contemporânea

Joana Gacho (Évora, Portugal, 1980) studied at the Faculty of Fine Arts at the University of Lisbon, specializing in painting. Her work reflects a fascination with the city, a space that, for her, becomes a stage for anonymous and dynamic encounters. The figures populating her canvases, stripped of faces and individual character, dissolve into the architecture, into the geometry that defines the urban landscape. She plays with the idea of the window as a boundary to our perception, showing that the city, even though we observe it closely, continues to exist beyond what we are able to see.

Katharina Arndt. Barceloneta Beach. 2023. Acrylic on canvas. 190 x 450 cm.

KATHARINA ARNDT. Ting Ting Art Space

Katharina Arndt (Germany, 1981) lives and works between Berlin and Barcelona. Trained at the Braunschweig School of Art, she earned her Master's in Fine Arts under the direction of John Armleder. Arndt uses media such as PVC film, lacquered paper, and plexiglass, combining glossy acrylic painting and lacquer markers to address the materialistic and plastic culture of the digital age. In her work, she takes a critical approach to the representation of digital communication and mass consumption, reflecting a society obsessed with image and instant entertainment. The figures in her paintings, often caricatured and childish, represent the emptiness and superficiality of a culture where aesthetics have become the only priority, while human connection increasingly fades away.

Lara Padilla. Heart of Fire. 2024. Mixed technique on canvas. 170 x 170 cm.

LARA PADILLA. 3 Punts Gallery

Lara Padilla (Madrid, 1988) is a multidisciplinary artist whose work spans painting, sculpture, dance, performance, and fashion design. With training in Fine Arts and Film Photography, Lara Padilla has exhibited her work both nationally and internationally at venues such as Art Basel Miami and the Museo de Zapadores in Madrid. Her work, influenced by artists like Basquiat and Keith Haring, explores themes such as equality, consumerism, immigration, and freedom of expression. Through her figurative works, she uses body deformation, color, and textures to advocate for the power of female representation; she sees art as a form of political intervention, promoting diversity and equality through an aesthetic that challenges norms and celebrates authenticity.

Núria Torres. Santa Teresa without Ecstasy. 2019. Carrara marble. 50x26x20 cm.

NÚRIA TORRES. Inéditad Gallery

Núria Torres (Barcelona, 1976) is a sculptor passionate about transforming the everyday into art through marble, porcelain, and bronze. After graduating in Engineering, she dedicated herself to sculpture at the Llotja School of Barcelona, where she found her true vocation. Her sculptural work stands out for her dedication and technical perfection, especially in handling stone, which requires extreme precision. The sculptor plays with porcelain and bronze to bring versatility and strength to her pieces, which range from small details to large-scale monumental sculptures. Throughout her career, she has collaborated with artists such as Antoni Miralda and has been recognized at various international biennials. Her art is figurative, but with a contemporary perspective that adds a touch of realism, always seeking new forms of expression and representation.

Miska Mohmmed. Dusk. 2022. Acrylic and markers on canvas. 90 x 203 cm.

MISKA MOHMMED. OOA Gallery

Miska Mohmmed (Omdurman, Sudan, 1995) is an artist whose work transcends the boundaries of reality and imagination. Living between different landscapes, from the arid ones in northern Sudan to the vibrant ones in Nairobi, Kenya, has influenced her artistic vision. Her training at the Faculty of Fine Arts at the University of Sudan led her to develop a unique technique in which she uses oil and acrylic to create semi-abstract landscapes, capturing nature through broad horizontal lines that evoke the atmosphere and spirit of the terrains that inspire her. Her art reflects the interaction between reality and imagination, offering a vision of a changing and dynamic world. By capturing the atmosphere of the landscapes, Mohmmed creates images that are not only visually striking but also invite reflection on the transformation and continuous flow of nature and memory.

Marcela Jardón. Floating Landscape 5162. 2023. Mixed technique on canvas. 60 x 60 cm.

MARCELA JARDÓN. Uxval Gochez Gallery

Marcela Jardón (Buenos Aires, Argentina, 1964) is a multidisciplinary artist whose work has transcended borders. Trained at the National School of Fine Arts at the National University of the Arts in Buenos Aires, her work has been exhibited at various international fairs and events in the Americas, Europe, and Asia, establishing her as a prominent figure in contemporary art. Currently based in Barcelona, her work spans a variety of disciplines, including painting, sculpture, and digital art. Jardón’s pieces have found their place in public and private collections worldwide, clearly demonstrating the impact of her creative work.

Wang Guan - Jhen. A Collection of Fragments No. 62. 2023. Mixed media on canvas. Variable dimensions.

WANG GUAN-JHEN. Yiri Arts

Wang Guan-Jhen (Taiwan, 1992) is an artist whose work explores themes of isolation and loneliness with a unique emotional intensity. After obtaining her Master’s in Fine Arts from the National University of the Arts in Taipei in 2018, she has created pieces that convey a sense of desolation, as if her characters float in an empty space, touched only by fleeting moments of warmth before being once again enveloped in darkness. Her works, with seemingly indifferent expressions, reveal deep stories of loss and despair, where the underlying emotional tension translates into sighs full of tenderness, like a thin line between rationality and passion, making them especially captivating. Her work is part of the collection of the National Museum of Fine Arts of Taiwan, establishing her as one of the most prominent voices in contemporary art in her country.

Brigitte Marionneau. Contenir le vent 10 V (BM032). 2019. Ceramic. 32x25x10 cm.

BRIGITTE MARIONNEAU. Pigment Gallery

Brigitte Marionneau (France, 1955) has built a career in contemporary sculpture marked by a sensitivity that transcends the visible. Her works, which explore the relationship between the human body, space, and nature, are not limited to static forms but invite deep reflection on existence and perception. Using materials such as stone, bronze, marble, and steel, the artist creates pieces that, while minimalist in aesthetic, carry a tremendous emotional weight. In these works, empty space is never absent but dialogues with the solidity of the material, suggesting a balance between fragility and strength, between the visible and the intangible.

Painting, in its most classical sense, has traditionally been considered a representative medium of human creativity, defined by the support, pigments, and figure. However, contemporary art has pushed this concept toward a radical redefinition. What was once a two-dimensional surface limited to visual representation has transformed into a multisensory experience involving space, time, and interaction. In this context, expanded painting emerges as a field of experimentation that invites us to reconsider the boundaries between disciplines and traditional forms of art-making.

In its origins, painting was conceived as an act of representation; a visual medium whose primary function was to capture reality through images. From the Renaissance to Impressionism, artists developed techniques and approaches aimed at increasingly accurate depictions of nature, the human body, and light.

Paco Díaz. TDE Carne y Piedra. Oil on paper glued to wood. 50 x 50 cm. 2024.

The history of painting was marked by an obsession with perspective, proportion, and harmony. However, as we move into the 20th century, avant-garde movements began to challenge these conventions. Cubism, Surrealism, and Abstraction introduced new ways of conceiving the pictorial act, which was no longer confined to imitating reality but aspired to deconstruct and reconfigure it. This break from visual tradition was merely the beginning of a series of transformations that would lead painting into previously unexplored territories.

Expanded painting, a term coined to describe this evolution, refers to the broadening of the medium’s possibilities in both materiality and context. Experimentation with new supports, the fusion of media, and the dissolution of boundaries between painting, sculpture, architecture, and performance are some of the most prominent aspects of this trend. Instead of being confined to canvas or panel, contemporary artists have incorporated materials such as wood, plastic, metal, glass, and even digital elements.

Alexander Grahovsky. The Unbreakable Will of the Spirit. Oil, spray paint, and colored pencils on canvas. 46 x 61 cm. 2024.

The flat surface has given way to a broader, more three-dimensional concept of space, where painting inhabits not only the support but also the surrounding space, inviting direct interaction from the viewer. Many of these breakthroughs can be seen in the works of artists who use heavy and textured materials to endow their two-dimensional pieces with a sculptural quality. The notion of painting as an object has disappeared in favor of a spatial experience encompassing both the visible and the conceptual.

Luis Miguel Rico. Untitled from the Sand Series. Oil on linen. 140 x 100 cm. 2024.

In this same vein of boundary expansion is Luis Miguel Rico, who, through a series of material explorations combining pigments, fabrics, and textures, addresses the relationship between color and space, seeking a balance between the emotional and the formal. His work focuses on transforming the traditional canvas, inviting viewers to reconsider the potential of painting as a three-dimensional expressive medium.

Jan Schüler. Dresden Die Elbe Bei Wachwitz. Oil on linen. 70 x 90 cm. 2024.

Jan Schüler, on the other hand, acts as a bridge between classical and contemporary painting. His introspective approach, where portraits and landscapes transcend mere visual representation, highlights the viewer’s interaction with the work. Through direct gazes that meet the viewer’s eyes, the characters in his portraits challenge the traditional conception of painting as a passive medium, inviting emotional and personal reflection.

César Goce. Liquid Shadows. Oil on wood. 58 x 42 cm. 2023.

César Goce, blending graffiti influences with traditional painting, brings expanded painting into his own dimension by integrating urban art with academic techniques. His approach aligns with the dissolution of disciplinary boundaries, incorporating graffiti, a contemporary medium, within a studio format that could be considered traditional. This reflects the process of expanded painting, where contemporary artists blur the lines of mediums to create a hybrid experience.

The expansion of the pictorial medium pertains not only to the choice of materials but also to the redefinition of what we understand as "painting." In this context, painting is no longer limited to representing the real or visible but becomes a field for exploring the invisible, the subjective, and the emotional. Instead of working within a single perspective or defined style, contemporary artists operate with multiple languages, where process and creative action become essential elements of the work. Spontaneity, error, improvisation, and the deconstruction of gesture have been integrated into pictorial practice, generating works that invite not only contemplation but also active reflection on the nature of art.

Federico Uribe. Still Life. Bullet casings. 65 x 75 cm. 2020.

Federico Uribe, through his assemblages of everyday objects, offers a radically different vision of expanded painting. While he does not adhere directly to traditional painting, his use of unconventional materials such as bullet casings and pieces of colored pencils creates a point of contact between painting, sculpture, and nature. Uribe’s reinterpretation of common objects relates to the expansion of painting beyond the canvas, suggesting a new way of thinking about the medium and its function.

The use of unconventional supports and the incorporation of performative elements are also fundamental aspects of expanded painting. By moving painting out of its traditional space, artists invite the viewer to engage more actively and participate in the work.

The advent of digital technologies has provided artists with a new palette of possibilities. Painting, understood as an action or process, can now simultaneously involve both digital and traditional creation, demonstrating that painting need not be bound to a single medium. This digital integration not only expands the painter’s tools but also raises questions about the very essence of art: must painting retain its physical and material character to remain painting, or can it transcend into the virtual and ephemeral without losing its essence?

CHOU Ching-Hui. A Promised Land: The Planet of Angels No.9. Inkjet print. 148 x 290.8 cm. 2023.

Chou Ching-Hui’s photographic approach also aligns with the idea of expanding the boundaries of traditional art. His transition from photojournalism to artistic photography shows how the photographic medium can interact with pictorial works, creating a new way of experiencing and reflecting on reality. Ching-Hui’s transformation of the real into the conceptual in his projects is a clear manifestation of expanded painting, now integrating other visual disciplines.

In this sense, expanded painting is defined not only by technical or material innovation but by a more philosophical approach to art. By eliminating the barriers between disciplines and expanding the boundaries of the medium, contemporary artists challenge our conceptions of art’s role in society. Painting, rather than being a closed and static process, becomes an open practice, in constant dialogue with its environment and its audience. Painting is no longer just a transcription of reality but an active intervention in it.

Alexander Grahovsky. If Only You Were as Prickly as a Thistle. Oil, spray paint, and colored pencils on canvas. 33 x 41 cm. 2024.

In the case of Alexander Grahovsky, his surrealist pictorial treatment merges the classical with the contemporary, combining figurative elements with the dreamlike. His work invites continual reflection on what lies beyond the surface, dissolving the boundaries of representation in an approach that resonates with the concept of expanded painting.

Tiffany Alfonseca. The Barbie You Can’t Buy in Stores. 183 x 152 cm. Acrylic, pencils, glitter, and rhinestones on canvas. 2023.

Meanwhile, Tiffany Alfonseca transcends the traditional sense of painting as well. Her vibrant portraits not only depict Afro-diasporic communities but also provoke reflection on themes of race, identity, and representation. Through her work, painting becomes a vehicle for amplifying historically silenced voices, transforming the pictorial act into a social and political intervention that invites viewers to experience more than just the visual.

Paco Díaz. RIBERA. Oil on paper glued to wood. 50 x 50 cm. 2024.

Paco Díaz, with his conceptual and reflective work, emphasizes the relationship between viewer and artwork, creating space for reflection on the personal, collective, and political. By focusing on the everyday, he invites us to reconsider life’s simplest elements through painting imbued with emotion and meaning. His compositions play with nostalgia and memory, creating works that are both a tribute to the commonplace and an exploration of the self.

Iyán Castaño. Circular Currents. Experimental graphics on canvas. 130 x 100 cm. 2024.

Iyán Castaño demonstrates how painting adapts to the contemporary era, where printmaking techniques, direct landscape intervention, and the exploration of social and personal themes offer a broad field for artistic reflection. By working with the changing conditions of the sea, he integrates nature into his work in a way that blurs the lines between painting and environmental intervention.

Antonio Ovejero. The Tomato Can. Oil and acrylic on board. 50 x 35 cm. 2024.

Antonio Ovejero’s unique fusion of kitsch and popular elements challenges traditional conceptions of painting. His work explores tensions between the banal and the artistic, creating a space where kitsch acquires aesthetic and critical relevance. Ovejero prompts viewers to question the relationship between art and popular culture, reflecting on nostalgia, consumerism, and the aesthetics of the everyday.

Paco Dalmau. A Borderline of Gules. Mixed media on canvas over board. 36 x 36 cm. 2024.

Paco Dalmau, on the other hand, delves into the relationship between color and form in contemporary painting. His work is characterized by a profound exploration of these elements, where structure and composition become vehicles of communication. Dalmau deconstructs traditional painting, leading viewers to a sensory experience where color and form are perceived not only visually but also emotionally, expanding the medium’s boundaries toward greater viewer interaction.

Painting has ceased to be a medium confined to visual representation and has become a discipline in constant expansion. By questioning what we understand as pictorial art, expanded painting not only broadens the boundaries of its discipline but also invites deeper reflection on the role of art in understanding the world. In conclusion, contemporary painting has evolved into a space of unprecedented creative freedom. Expanded painting redefines the boundaries between disciplines, materials, and meanings, inviting both artists and viewers to participate in an active reflection on the nature of art and its relationship with society. Far from being a closed discipline, painting today presents itself as an open field, in constant dialogue with the present and its infinite possibilities.