Montserrat Soto conceives the photographic image as a code which, because it is reductive, allows us to intuit subtle intermediate nuances which are commonly concealed from the eye in our real environment. It is "another expression" which can capture -and take us to- situations which are both close and distant and which, when we look at them, are revealed to us involuntarily. In a different sphere altogether, it is interesting to note that in all her works the spectator is the point of interaction which gives them the possibility of meaning: it is the opening of mind and senses of anyone observing them, in relation to the meaningful entity of each of them, which gives them their intellectual and experiential entity, far removed from the conception of the work of art as a cult object; light years from the modernist consideration of contemplation as mysticism and passivity. We may say that although those axioms are present along broad lines in all Soto's works, in Sin nombre some features are clearly boosted in comparison with earlier projects, whilst pointing subtly to other features of later ones. For example, we might mention that the concepts of fragmentation and pause her works usually refer to -Tracto III (1994), Tracto perdido (1994) or Sin título. Valla desierto (2000)- are explicit in the succession of twenty-seven fragments-images of empty corridors with their many doors closed. However, in this piece the intention -which is maintained throughout her career- that the spectator should enter each of her images, penetrate it and travel through it, becomes clear, or rather inevitable, when it is a thirty square metre room with a ceiling where we can only see the images (made up by the walls) if we enter and walk through it. Another important concept of hers is also posed: architecture understood as "the form a person chooses to hide, to protect himself" which, paradoxically, in Silencios (1987), a small room whose walls reproduce stores containing works of art from major Spanish institutions, Soto extrapolates to a reflection on works of art and the spaces (the architectures) where they are located. This series, which began with Intervalo (1984) -an image that shows four empty exhibition rooms, one inside the other, giving an impression of continuity through the union of their perspectives-, is completed in Paisaje secreto (2001), the last of her projects, which presents sixty collectors' houses in South and North America and Europe. Nevertheless, except for the previous series, the spectator's confrontation with himself -which in Sin nombre produced physical dizziness with the play of its real architecture (triple cubic structure), added to the digital modification of the perspective in each image- continues to be the rule in projects such as Desiertos (2000), composed of individual images of deserts in Utah, Colorado and Arizona, or in Untitled. Island series (1998-1999), whose images are captured in different spots on the Åland Islands in Finland. In a successive "upward spiral" to which she is fortunately making us accustomed, poetics, the strength of subtlety, the skill in the imperceptible digital modification and, of course, the formal beauty, turn her images (as in Sin nombre) into effective stimuli for a journey through ourselves and what is around us.