What possibilities does photography, driven by its documentary nature since its inception, hold? What do the images reveal about history? Where does their critical power reside? The sharing of photographic artifacts produced in recent years in Argentina unveils a historicized, transversal, multiple photography inclined towards the political. In the midst of the becoming-document that characterizes a large part of contemporary art, Natalia Fortuny explores the unique unfolding of these images, their details and visual strategies, and the ways in which photography relates to the world, recent history, politics, and violence.

As Ernesto Semán asserts, Arder con lo real (Burning with the Real) combines Fortuny's precise reading journey through landscapes, surfaces, and artifacts with a kind of stream of consciousness, an association of memories triggered by cultural productions that remember and keep on remembering.