Cristina Iglesias reflects one of the paradigm shifts in the world of Spanish visual art during the eighties, specifically in the internationalisation of the artists’ work and interests. She studied at the Chelsea School of Art in London from 1979 to 1982 and participated in her first exhibition in the British capital the year she completed her degree. Her first solo show took place the following year in Portugal, at the Cómicos gallery in Lisbon, and a few months later she also exhibited in Madrid. In subsequent years, her work was shown at the CAPC Musée d'Art Contemporain in Bordeaux, the Kunstverein für die Rheinlande und Westfalen in Düsseldorf, the De Appel Foundation in Amsterdam, the Kunsthalle in Bern, the Art Gallery of York University in Ontario, the Stedelijk Van Abbemuseum in Eindhoven and at several private galleries in different countries including Spain. Although she represented Spain alongside Antoni Tàpies at the 45th Venice Biennale (1993), her first exhibition at a national museum did not take place until 1998 when the Museo Nacional Centro de Arte Reina Sofía in Madrid and the Museo Guggenheim in Bilbao presented her work in collaboration with the Solomon R. Guggenheim Museum in New York. The MNCARS also held a retrospective of her work in 2013. She has also shown at the Carré D´Art-Musée d´Art Contemporain in Nîmes, the Museu de Arte Contemporânea de Serralves in Oporto, the Whitechapel Gallery in London, the Irish Museum of Modern Art in Dublin, the Ludwig Museum in Cologne, the Pinacoteca do Estado de São Paulo and the Fondazione Arnaldo Pomodoro in Milan. In 2011, she worked with the Marian Goodman Gallery in New York. In recent years, she has increased the number and complexity of her interventions in both public and private spaces, including the powerful Towers the Ground at the Castello di Ama in Tuscany, Estancias sumergidas in the Mexican state of Baja California Sur or Inhotim in the Brazilian park of the same name. Her work is represented in important collections, including those of the Museo Reina Sofía (Madrid), Centre Georges Pompidou (Paris), Tate Modern (London), Museu de Serralves (Oporto), MOCA (Los Angeles), Hirshhorn Museum (Washington), Museo Guggenheim (Bilbao), MACBA (Barcelona), Van Abbemuseum (Eindhoven), Kunsthalle (Bern), Musée de Grenoble and others. Two of the pieces in the ”la Caixa” Collection—both untitled—were made in 1985 during the early part of her public career. Corredor suspendido (2005) provides a good example of the latticework and enclosures that characterised her early installation work.