In Memory Exercise -the work is part of a small series, with Psychopathic Effects and another untitled piece- Mora advances a reflection on the conservation of experiences and memories; on the way in which memory is stored and ordered, and in what way that layout affects our own way of representing thought. Through a series of zinc strips or reels (which may well allude to the recording of computer data or sound documents) scattered around with their boxes, on top of and underneath some shelves, he refers to the tragicomic expression to which any attempt to conserve memory and history is destined: "The accumulation of experience, the accumulation of memories which, because they are significantly different, have left their mark, and the radical awareness that in the end they can, nevertheless, only be numbered." Some words can be seen printed on the ribbons, written like a message encoded in a hybrid of many languages which, although they do not articulate any clear meaning, aim to play with associative meanings: "GRADSS GOOTZ! OADIC TIONERS I SHOLD PLANT THOGT" or "EXERCI MEMRI FOR DON NOT FOTGEOU". Memory Exercise is suggested as a kind of snapshot of a hypothetical archive, frozen in an everyday space and time, dramatising both a horizontal, uniform vision of all possible hierarchies when it comes to retrieving the elements of the past. Through those reels -with no labels to indicate their content, their nature collecting any information without taking account of its possible subjective value- Mora invokes a certain affliction in the face of the loss of the experiential when confronted with the domain of the technical. That play of dramatisation is also heightened by the subtle irony implicit in the "need to fill" the reels with content that the work arouses in the spectator, an irony which composes a metaphor on the receptive nature of any work of art. In that way, he shares the interest -evident in a number of artists of his generation- in expounding ideas also according to the spectator's own experience and perception, thus creating a narrative based on dialogue, rather than the drafting of linear, ordered readings. Hence his habitual references to "going beyond the frontiers considered as such in art."