The presence of Bárbara Sánchez-Kane (Mérida, 1987) breaks into the panorama of Mexican art due to her unique starting point: fashion design. It seems that we live in a transdisciplinary moment where clothing design more frequently intersects with the plastic arts in terms of production, exhibition and circulation; labels are no longer paramount for creative minds. The main issue does not lie only in the avant-garde gesture of using a piece of art as clothing (there are, for example, the costumes of the Bauhaus, as well as the series O eu eo tu by Lygia Clark), but in a reading problem: it would be valid, then, to interpret the work of a fashion house or brand from the parameters of the plastic arts. It is advisable to sharpen your eyes before ensuring that it is a crossover. Sánchez-Kane's foray into painting, sculpture, performance, poetry, and installation is, above all, an extension of his early practice. Against essentialisms that slow down the development of hybrid practices, his vision emerges with an overwhelming force.