In Álvaro Albaladejo’s work the eye is always exploded. Through a series of hallucinatory technologies, Albaladejo throws perception against its limits. In order to attack the eye, the artist introduces in his sculptures a series of devices that alter the apprehension of the work, provoking not only strangeness, but even experiences close to vertigo and disorientation. This centrality of the physical aspect of vision in Albaladejo’s work is related to a subway genealogy of artistic modernity, that which goes from psychedelia to experimental cinema, and which postulates not only that there is no neutral position from which to approach the visual, but rather that, on the contrary, the lack of disturbance that presupposes distanced observation is already historically conditioned. Hence, this radical critique of the retinal operates through the confrontation and subversion of the normalized visual experience. The eye is abyssed in Albaladejo’s sculptures, fascinated by the web of spectral forms and optical effects. Thus, besieged by paradoxes and contradictions, the gaze is shipwrecked and, in the vertigo of the fall, the very act of seeing is thematized. Ultimately, what Albaladejo shows by exploding the visual field is the fragile frontier that separates material reality from psychic reality. In this sense, Albaladejo is a sculptor not only of the perceived object, but of perception itself.