Untitled (1992) offers a hieroglyphic organisation chart of objects, playing with a coded language that triggers meaning. It forms part of a series related to travel, a recurring theme of the artist's oeuvre and the trigger for many of his works. The question of identity is also presented as a never-ending journey. We intuitively see a foot, a spoon or brushes. Or perhaps a rake, arms or plants. These are metaphors for vague situations, in which the human body always plays a fundamental role. Montaño employs little anecdotal and almost diminutive representations of the body and the elements that make up his idea, composing a metaphysical cut-out. In this work, the artist synthesises the generational feeling of a painting that consists of deterritorialising codes, proposing detours, maintaining and increasing the presence of active differences and optimising the conditions of multilinear drift. Narratives intertwine and the pictorial escapes its own definition. In the artist's own words: 'The work of art brings order to that which is falling apart'.

Beatriz Espejo