Adrián Sosa manages an aesthetic of simplicity in a very honest way. It lays bare the obviousness that escapes reality. With stealth, he takes the time to catch the tiniest moment of what surrounds him. It engages corporeally without seeking the brutal impact of the action. His video-performances are anchored in the territory and are declamatory, even if silence prevails. It exposes the rugged, arid, wild and inhospitable environment without altering it. When the deep is near, it brings us gusts of ashen air that invades everything. Increases the sensation of suffocation. The roar and the stifled scream rise. It forces us to feel the dust choked in a short but endless cinematic time. Our gaze rests on the stopped act where, without mentioning a word, the artist narrates. Cement builds and flour feeds. With both of them, it marks great signs on two routes in Tucumán. He carries heavy bags and dumps the substances on the asphalt. The cars pass quickly and indifferently, raising dust. Sosa remains absorbed at the side of the road, hieratic, declaiming through gesture. It does not seek to tame the wind or slow down the small catastrophe. It only attempts to show how mismanaged progress ended up being a dilemma in a wealthy province made up, in large part, of people who live in hardship on a daily basis. As a sign, signal or signaling, the volatilized dust is a recurrence in Sosa’s aesthetics of simplicity. It not only investigates the suspension of particles in the air and the agitation of the element in the act of dispersion. Being a hostage of his own performative trap, wrapped in dust, is not just an occasional experience, but deliberately making visible that he has something meaningful to say. Eugenia Garay Basualdo