2024–2025 · Puebla, Mexico
The Museo Internacional del Barroco in Puebla presented Point of View: Out of the Unseen across 2024 and 2025. The context is unusually apt: anamorphosis is a Baroque device, perfected by painters and perspectivists of the sixteenth and seventeenth centuries who used projective distortion to hide images in plain sight.
Shown inside Toyo Ito's building, the contemporary anamorphic sculptures made that lineage explicit — the same mathematics Holbein and Niceron used by hand, computed instead, and cast in metal. Spanish-language labels and wall texts were supplied by the studio as part of the exhibition package.
The Puebla staging demonstrated that the show reads as art-museum programming as readily as science-centre programming, which matters for curators weighing where it sits in their calendar.
Museo Internacional del Barroco — official site
Point of View: Out of the Unseen tours as a turnkey package of 51 scientific artworks, requiring approximately 500 m² in its full configuration and 7–10 days to install. Read the technical and logistical specifications, see the exhibition itself, or write to [email protected].
Primary and elementary groups (ages 7–11), secondary, middle and high school groups (ages 11–18), undergraduate and teacher-training cohorts, and general family and public audiences. Because every label carries both an artistic reading and a scientific explanation, the same gallery serves a Year 4 class, an A-level physics group and an adult visitor without separate routes or duplicated signage.
By the end of a visit, students should be able to: explain how a curved mirror reflects light and why an anamorphic sculpture resolves from only one point in space; describe projection and inverse mapping as a coordinate transformation; describe how multiphoton lithography builds a structure smaller than a grain of sand; explain that perception is constructed by the visual system rather than passively received; and outline the digital fabrication pipeline from 3D scan to finished cast object.
Three common patterns: as a structured lesson walked in the gallery, following the four-chapter route — illusion, emergence, identity, consciousness — with each chapter mapped to a topic; as a pre- and post-visit unit, where classes model the mirror geometry or the coordinate transform in class and then verify it against the physical work; and as a hands-on workshop using the optical illusion Paint by Numbers kits, which reproduce exhibited artworks and let students build and test an illusion themselves.
Yes. The studio works with the host museum's learning team to align labels, worksheets and workshops to the local curriculum — typically physics (light and optics), mathematics (geometry, transformations and coordinates), design and technology or engineering (digital fabrication), and biology or psychology (perception and the visual system). Label and wall text are available in English, Arabic and Spanish, with further translations by agreement.
Teacher previews before opening, artist and scientist talks and Q&A sessions in person or by video link, dual art/science interpretation written to be readable by a school-age visitor, and a briefing for gallery educators on the science behind each work. Enquiries: [email protected].
Allow 60–90 minutes for a full guided route through the four chapters with time at the nano sculpture microscope station and the Aura Screen dark room. A focused single-topic visit — optics only, or nanotechnology only — works well in 40 minutes. Group size is limited mainly by the microscope and dark-room stations, so rotating sub-groups is recommended for classes over 30.