Two elementary particles This exhibition by An Wei and Jesu Moratiel is especially suggestive because of his way of conceiving the relationship between space and art. Moratiel proposes a dialogue between manual art and digital art with his renders, while An Wei cultivates the old discipline of painting. There is something in the work of these artists close to what Gilles Deleuze called the "haptic", the virtue of painting to create space and to suggest a tactile relationship between the work and the viewer. Painting has traditionally been considered a two-dimensional art, in contrast to sculpture, which would be a three-dimensional art, and architecture, which would be a four-dimensional art (taking into account the dimension of time: what turns a house into a home it's the time one spends living it). This was the reason why Schelling and Hegel considered sculpture superior to painting: its spiritual character, the fact that it had so few dimensions. An Wei and Jesu Moratiel show an expanded and alternative conception of this millenary genre, adapting its formats to the spirit of the 21st century. In Moratiel's renders we find, moreover, a questioning of the inherited pictorial canon when merging a Marionist version of Les Mademoiselles d'Avignon with portraits of racialized people. This is mixed with pictures open to interpretation such as one in which an arrow hits the target. A reference to the escópica relation between the spectator and the work of art? Be that as it may, the exhibition by An Wei and Jesu Moratiel offers a refreshing look at a genre that many will consider perillitado, but here shows its ability to adapt to new environments, playing with the limits of the baroque without falling into what kitsch. The baroque of the digital is compatible with the three-dimensional spaces projected by Moratiel, characterized by its minimalism. In this intersection between the arabesque and the what you see is what it is is where the bet of an exhibition is placed, this, which bets on small formats despite its great theoretical and aesthetic ambitions. Diluting the limits between painting, net art and cultural criticism, An Wei and Jesu Moratiel offer themselves to the viewer as a solid bet to rethink the inherited conception, not only of painting, but also, and above all, of our own body condition. Ernesto Castro (Madrid, 1990). Master's Degree in Analytical Philosophy from the University of Barcelona. Author of Against Postmodernity (Barcelona, ​​2011) and Un palo al agua. Essays of aesthetics (Murcia, 2016). Coordinator of The Art of Indignation (Salamanca, 2012). Collaborator in Red-acciones (Valladolid, 2010), They were twenty years old and they were crazy (Almería, 2011), Humanism-animalism (Madrid, 2012) and Indignación y rebeldía (Madrid, 2013). He is currently a PhD candidate at the Complutense University of Madrid.