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Another Family Plot is an anthological exhibit of Txomin Badiola and in its preparation it makes manifest the binomial between construction and critical deconstruction that characterizes all Badiola’s work. The artist has responded to the Reina Sofía Museum’s invitation with an exhibit that is the result of a curatorial process fruit of a process of discussion with a group of artists which has accompanied Badiola’s work throughout his career, among them Ana Laura Aláez, Ángel Bados, Jon Mikel Euba, Pello Irazu, Asier Mendizabal, Itziar Okariz and Sergio Prego.

When Something Is Possible puts forward a panoramic view of the actions and programmes developed by the Museo Reina Sofía Education Department, proceeding from the voices of those who are at its core: participants, educators, mediators, teachers and members of the education team. This kaleidoscope of experiences brings to light the diverse array of languages, sensibilities and knowledge that are interwoven in the education work of the Museo, in addition to the multiple subjectivities that can find a place there.

Damián Ortega (Mexico City, 1967) started out as a newspaper cartoonist in the 1980s, approaching the political scene with acerbic wit. His artistic concerns shifted when he joined the Taller de los Viernes (Friday Workshop) in Tlalpan (active from 1987 to 1992), a self-styled school and the place where he would come into contact with a creative community that was both diverse and an alternative to the dominant reactionary muralism in Mexico at the time. It was in this milieuthat he realised his first sculptures, continuing the ironic tone from his previous profession.

The exhibition Campo Cerrado takes its name from the homonymous novel by Max Aub and looks to examine Spanish art in the complex and controversial 1940s, a decade that has received little attention and one that exists in a critical and historiographical vacuum, despite its importance in structuring modern sensibility in Spain.

The exhibition Wifredo Lam revolves around the genesis of his work, the diverse stages and conditions of reception and the progressive integration of a body of work that was painstakingly put together in Spain, Paris, Marseille and Cuba, tracing the artist’s unique career by way of almost two hundred and fifty works – paintings, drawings, etchings, prints, ceramics - and is completed with over three hundred documents – letters, photographs, magazines and books.

The work of Swiss artist Rémy Zaugg (Courgenay, 1943 – Basel, 2005), which stretches across four decades, is on display in the Palacio de Velázquez. The exhibition The Question of Perception is the outcome of a close collaboration between the Museo Reina Sofía and the Museum für Gegenwartkunst, Siegen, and looks over a body of work based on the study of perception, and the relationships between text and images, colour and language, the real and the subjective, and between plane and space.

A key figure in Mexican conceptual art, Ulises Carrión (1941, San Andrés Tuxtla, Mexico – 1989, Amsterdam) was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde.

The exhibition is composed of nearly 350 pieces that include books, magazines, videos, films, sound pieces, mail art, public projects, and performances, along with Carrión’s initiatives as curator, editor, distributor, lecturer, archivist, art theorist, and writer. It is a significant body of original work structured so as to place a spotlight on every facet of his production.

Alexandre Estrela (Lisbon, 1971) uses film and video as the core mediums in his artistic practice, which questions the materiality of the image, dialoguing with a history of experimental film, video and photography, which finds some of its symbolic evidence in the films of Marcel Duchamp, in photographs by Man Ray or cut-up narratives from Burroughs, for example.

The work of Juan Giralt (Madrid, 1940–2007) was initially self-taught in the Informalism that predominated the 1950s. A brief spell in Holland at the end of this decade enabled him to come into contact with the CoBrA group and saw him begin to shape a more personal and permeable pictorial language in a new interpretation of Figuration. This characterised his work in the 1970s and 1980s, turning him into a reference point of New Figuration in Madrid. In the years that followed, until his death in 2007, he would gradually incorporate abstraction, but without ever relinquishing figurative elements that were present in the constant use of collage and the painted word.

Andrzej Wróblewski (1927–1957) is, despite his short life, one of the most important Polish artists of the 20 th century. This exhibition, the first retrospective held outside his country, enables his work to be contemplated in a way that goes beyond the reductionist clichés of socialist realism or Outsider Art, through which art from countries in the Soviet sphere of influence has been studied until recently. Wróblewski was an artist that could work on the borders between abstraction and figuration, combining formal invention with the analysis of daily life and its limits – the degradation of war and dictatorial politics – by means of a profound human and political commitment.

In the work of visual artist Hito Steyerl (Munich, 1966) constructed texts and edited images enlarge the conditions of film essays, reflecting on and intervening in the systems that circulate information, and in those that present and represent the artwork. Her texts, lectures, films and audiovisual installations merge the philosophical and political reflection of critical activism inserted in the world of production and the circulation of the image and the word. Through this perspective the artist develops a critical body of work on modes of perception, control, surveillance, in addition to militarisation, migration, feminism and the political image – questions she feels have the capacity to create realities.

The Artist-led Workshop, a collaborative project between artists and educators aimed at children aged between 8 and 11, and this year in its fifth edition, sets up a dialogue between the artistic career of Miren Doiz (Pamplona, 1980) and the works on display in the two temporary exhibitions from the Kunstmuseum Basel.

Artist Miren Doiz explore both exhibitions with participants, not only to highlight the historical importance of collecting as a staple in the holdings of public collections, but primarily to put forward an overview of painting from contemporary practice. Miren Doiz’s surroundings-based works, which intervene through expanded painting, trigger experiences that directly pose a question to the viewer through sentience. Her concept of painting transgresses the frameworks that encapsulate it and includes diverse techniques, which allow the children participating to discover, over the five days the workshop is held, how this can generate inhabitable spaces.

The Museo presents an exhibition devoted to the recent work of Ignasi Aballí, on a journey articulated around the Catalan artist’s aesthetic ideas, offering a conceptual reflection on the representation and perception of the artwork through mediums such as photographs, videos, installations, sculptures, paintings and collages, and an eclectic display of unconventional materials such as leaves, dust, rust, metals, newspaper cuttings and scraps of bank notes, which explore presence and absence, the material and immaterial, the visible and the invisible, transparency and opaqueness, appropriation and creation to relate the overabundance of images in modern-day society to the lack of meaning we can assign to them.

Constant Anton Nieuwenhuys (Amsterdam, 1920 – Utrecht, 2005), a key figure in Situationism and one of the founding members of the CoBrA group, developed his project New Babylon between 1956 and 1974. Through the project, regarded as the last great utopia in European art, the artist aimed to generate and mould a new urban environment to enable a “total fulfilment of life”. Everything sets out from the premise that, in a not-so-distant future, the growing automation of work driving technological progress would allow citizens to fully devote their time to meeting their leisure urges and thoroughly develop their creative potential.

Danh Vō’s (Bà Ria, Vietnam, 1975) art work subverts and plays with classic appropriation and opportunistic strategies of Western art in its approach to other cultures. His installations, sculptures, photographs and works on paper, particularly his early work, often calls on his origins and experiences, interspersing them with cultural, social, and historical references. Danh Vō utilises 19th-century industrial exhibition typology to portray the unique architecture in the Palacio de Cristal, encapsulating the nostalgia of a nineteenth-century palaeontology and archaeology museum inside a large display cabinet.

Nasreen Mohamedi (Karachi, 1937 – Baroda, 1990) was one of the first Indian artists to embrace abstraction, moving away from the more conventional doctrines of Indian modern art in the early decades of the 20th century. She chose non-figuration, an artistic practice marginalised at that time by independent India, which was essentially dominated by an anthropomorphous aesthetic and academic realism determined by art schools from the colonial period.

Resonance is a series of sound interventions for a specific site, activating the acoustic and historical space in the Museo Reina Sofía’s Sabatini Building. The programme refrains from using the auditorium and electronic amplification, which means guest artists, musicians and composers will present a series of pieces that set in motion alternative contexts for sound and contemporary music.

This series lays out a set of interventions that work with unwanted echoes and resonances, developing the properties sound possesses, depending on where it is produced – a quality that the careful design of auditoriums, speakers and earphones have tried to make us forget.

The Wall Drawing concept was the best medium for giving expression to LeWitt’s radical ideas, and these works would become the most characteristic in his output. In a 1970 text under the same name, Wall Drawings, the artist explained that his approach consisted of making a work “as two-dimensional as possible”. In accordance with his minimalist, and therefore reductionist, thinking, LeWitt felt the most natural way to work was directly on the wall, rather than on a “construction” which would later be hung on the wall. This enabled him to create works with a minimum of materials, allowing the drawing to become an intrinsic part of the architecture of the gallery and causing the viewer to interact spatially given that they would only make sense of the work through experiencing the actual exhibition space.

The first installation of Wall Drawing #47 was drawn in June 1970 by Kazuko Miyamoto, at the Philippe-Guy Wood Residence in Vasenaz, Geneva. The Museo Reina Sofía acquired the piece in 2009 and the first installation was in 2011. The current installation, carried out between 3 November and 10 December 2014, is on a wall 5 metres high and 15.8 metres wide. The draughtspersons are Roland Lusk and Andrew Colbert, under the direction of John Hogan, with the participation of six assistants. Wall Drawing #47 requires meticulous work to ensure uniform pressure of the pencil on the support. It is finished with a water-based varnish applied by a specialist from the Sol LeWitt Studio and an assistant.