Modernity has taught us to name the world, to look at it, to know it and even to desire it. To do so, it has resorted to such stories as the myth of Adam and Eve, the Plato´s allegory of the cave and even children's stories such as Pinocchio to taught us to distinguish good from evil, knowledge and truth.

UNUM is an exhibition of sculpture initially intended to return to this modern from of knowledge. However, during its development, José Miguel Howe has detached himself from literal narratives as forms of truth, complexing each exercise in order to call into ques_on the manner in wich they are applied.

With narrations we must understand the set of conventions of discourses that are considered as true: the religious, the scientific, the cultural and socially accepted, among others.

UNUM has its origin in the atribution of values such as beauty, truth and goodness to the perfect unity of being, which are at the same _me the main topics of this exhibit.

Yet, UNUM presented Howe a contradiction of which he has become conscious. In this exhibition, questions are raised to some conventions of ideas of truth, knowledge and desire. This questioning takes place from the objection that exists between the narrative statements that accompany and justify in its origin each piece, which are arranged in the form of texts throughout the room, and the forms of materiality which determines each sculpture, almost all linked to the symbolism and simulation that plastic as raw material embodies.

In this sense, the relevance of the work here is not only in its physical or formal appearance, nor in its narrative resources, but in the capacity to convey meanings, understanding the work of art, and especially the elements of traditional sculpture (representation, matter, volume, space and base) as an almost scenographic artifice that allows us to recognize those forces that fall on us invisibly.