In September 2021, the ethall gallery presented the exhibition “Four Walls” by Luz Broto, whose proposal consisted of extending the eight pillars of the exhibition space by constructing four drywall walls. As a result, the space was divided into five rooms, some accessible and others not, thus modifying the access, the flow, and the perception of the place itself.

In the gallery, there were also four drawings, each referring to one of the walls, with their four pencils, serving as support for possible contracts to be made between the artist and those interested in constructing a new wall in another space.

On November 29, 2022, Elvira Dyangani and Luz Broto reached the following agreement: “We will build a wall at the museum that will extend two of the pillars of the building, from the base, on the ground floor, to the ceiling of the second floor. From December 13, 2022, until the end of the exhibition, the wall will gradually grow until it blocks the main entrance to the MACBA galleries.”

Since then, different phases of the wall’s construction have taken place. In the first, with the start of the exhibition, lasers outlined the future wall across the three floors of the museum. In March 2023, the first section was built along the freestanding pillar, appearing above the introductory panel of the exhibition and unexpectedly covering part of it. In April 2024, the second section was constructed, reducing the entrance to the exhibition spaces, and finally, in January 2025, the third section was built, causing the wall to merge with the second pillar. As a result, for one month, the usual access to the galleries on the first and second floors was modified, as well as the flow of visitors inside the museum. During this time, emergency stairs were made available to facilitate access to the upper floors.

Until the end of the exhibition, traces left by the wall’s dismantling will remain on this floor: a final accidental drawing made of chalk dust lines on the black panel, blue dust on the ceiling, and plaster on the column; and on the partition, marks from bodies that rubbed against the wall while passing through the narrow gap that existed, and still exists, between the column and the partition.