Luis Molina-Pantin's work is archaeological in nature, going beyond the realm of photography. In it, he gathers seemingly devalued collective places and stops to intensely gaze at them until they break. He focuses on what no one else sees. He finds, excavates, captures. He takes hold of the reverse side of things, without the slightest intention of adding more than what is already there. In the form of a visual inventory of the collapse of the economy and banking system in Venezuela (1994-2010), Luis Molina-Pantin compiles dilapidated facades of bank headquarters, broken piggy banks and bank logos, book covers about economic crises, banknotes of different denominations that circulated before and after the financial crash, and frames from advertising campaigns of bankrupt institutions.