Avelino Sala poses an ironic reading of the sculpture. As we say, at the beginning of his career made empty sculptures with adhesive paper, then reproductions useless as is the case with a table of surf bronze which, as you can imagine, will be sunk at the bottom of the sea. But speaking at the marble Museum, used the stone to represent issues or figures of today, underlining the important presence of some of the symbols of the current angry rebellion, entitled Dystopia: Right Now. These symbols found in the marble are a surveillance camera, in reference to security systems, but also to the Panopticon of jail proposed by Bentham. Secondly, an explosive Molotov cocktail. Thirdly, the symbol of anarchy. Finally, in addition to these objects of reality against the system, appears one of their main players, identifiable with the embossing of the hooded figure, with an outstretched hand and another with a fist threatening, pointing out the differences between the rebel and revolutionary, who is outraged with the society - not only with the mechanisms of power - and the one who decided to take direct action. What is the place of art in the presence of the political? If it is not only indignation but Act, the role of the artist can be one who presents the symbols of power, that that represents with the same messages of the policy. And in this politics of memory, as pillars of the post-romantic nihilism proposed by Avelino Sala, appears the postulate emptiness of today's society.

Currently, the activity of art must be a kind of symbolic grammar, interpretation or reading that in the case of Avelino Sala can be linked to concepts that offer an interpretation of the situation in today's society, deepening and telling both his emptying, and their dispossession or their theft. It is the emptying of the ideals, the annihilation of a time out piss [out of joint].