The exhibition Beatriz González: The image in transit revisits the more than 60-year career of Beatriz González (1932, Bucaramanga, Colombia), known for her works that critique her country's history of violence and reinterpret works from Western art history. The exhibition features over 100 works produced since the 1960s.

The image in transit is organized to present the different historical and conceptual aspects of the maestra of Colombian art, bringing together some of her main works.

In the first exhibition room, dedicated to works on media, reproduction and circulation of artwork, is the emblematic silkscreened curtain Decoración de interiores (1981), in which the artist portrayed the president at the time, Julio César Turbay Ayala, singing at a party.

The next room is dedicated to interventions in furniture, transformed into support for images appropriated from the Colombian popular and religious imagination, as in the works Naturaleza casi muerta (1970) and Saluti from San Pietro. Trisagio (1971)

The exhibition also features works that reflect his interest in images taken from the press, a practice adopted primarily from the 1970s onward. In his works, González addresses the consequences of the Colombian armed conflict, political violence, the climate crisis, and the experiences of indigenous communities.

In Los suicidas del Sisga (1965), which took newspapers as a reference El espectador and Weather, the artist starts from a photograph in the newspapers about a double suicide committed by a young couple, looking at the codes that linked the image to the police report and the reproduction of the images in the mass media.

In the 1980s, the artist turned her attention to Colombian political iconography. From this period, works such as Señor presidente, what an honor to be conusted at this historic moment (1986) that directly comment on traumatic events in recent history, such as the storming of the Palace of Justice.

The exhibition ends with the series Private pictographs (2014), in which González uses traffic signs as a collective symbol to represent situations of social crisis caused by forced migration due to displacement, environmental disasters or violence, particularly in rural and peasant territories.