Mexico City — October 2026 — Fuera de servicio: cascajos administrativos, brings together paintings, sculptures, found and altered objects, display cases, broken machines, furniture, sounds, and architectural elements whose arrangement destabilizes the original functions of things. Muñoz explores the leaks that occur through reordering and modification, drawing attention to what remains after something has been altered. The purpose of objects—and, with it, the possibility of defining them in fixed terms—is left suspended in the uncertainty of a scene that comes after the event that produced it. The exhibition does not try to reconstruct meaning; instead, it sustains the coexistence of ambivalence and contradiction.

The works complicate autobiographical confession by pulling it away from transparency and honesty: personal experience becomes residual material, then undergoes fictional shifts that fragment it. Sexuality, violence, illness, and fragility move beyond the private sphere and into the ways such experiences are managed; the archive, the institution, war, religion, surveillance, and landscape all belong to the economies of desire that shape us. The possibility of a neutral gaze collapses: the viewer is drawn into the system as yet another apparatus of observation, classification, and judgment.

“FUERA DE SERVICIO: Cascajos administrativos” does not propose a politics of purity; it works through contamination. As the works lose their intended purpose, simple oppositions begin to dissolve: victim and perpetrator, private and political, the valuable and the disposable. The language that separates one thing from another starts to be shared, slipping quietly between the categories meant to keep them apart and forming a hybrid network of failures: the iron does not iron, the feeder does not feed, the locker does not store. The exhibition thus presents a population of ambiguous bodies—possibly dead, asleep, stored away, ill, or simply waiting.