Sequences. The Image-Montage is the first institutional exhibition of Colombian artist Sair García. It presents a corpus of works never exhibited before alongside a new body of works specially produced for this occasion that deal with the concept of the "image-montage" and its longstanding relationship between cinema and visual art.

The exhibition's title is borrowed from the theory of the "image-montage" as described by Georges Didi-Huberman in The Eye of History: When Images Take Positions (2018). In this book, the French philosopher states that montage is never neutral, but rather a critical method that allows one to "take a position" towards the real by modifying and rearranging "the respective positions of things, discourses, and images."

This concept becomes the standing point of García´s visual essay, which draws from the iconic imagery of Greek filmmaker Theodoros Angelopoulos (1936-2012) and specifically a visual analysis on Trilogy: The Weeping Meadow (2004). This sweeping epic tells the story of a family over several decades against the backdrop of historical events in Greece, and it becomes the driving force of the exhibition’s narrative development.

Sair García synthesizes the fleeting temporality of Angelopoulos' cinema into the density of painting and its relationship with digital and mechanical animations.