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As these two shows demonstrate, Lamelas continues to be not only an adroit deconstructionist of images but a great believer in them as well.

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The ten artists featured here contend with boundaries that delineate both physical and psychological divisions.

Several of the modest photographs in Park Mc Arthur’s Leads, 2016, document thresholds at Chisenhale Gallery in London with door saddles that may look innocuous to some, but may be obstacles for people who use wheelchairs.

For Cordova, the two sites are examples of efforts to join architecture and spirituality, a tradition he traces back to Aztec and Andean building practices.

In an alcove of the gallery, the video calle luna calle sol (ai apaec yemay watatsumi) (moon street sun street [ai apaer yemay watasumi]), 2017, features the coast of Barranco in Lima, Peru, a sacred site for Andeans as well as a possible precolonial trade route between Asia and the Americas.

This is also the case in Time as Activity Madrid, 2017, wherein Lamelas, working digitally this time, recorded visitors viewing Picasso’s Guernica, 1937, at the Museo Nacional Centro de Arte Reina Sofa.