Through which devices are ideas communicated? Where do images reside? A selection of eight of Joan Fontcuberta's most significant projects confronts us with these questions. Herbarium, Fauna, Sputnik, Securitas, Pin Zhuang, Miracles, Deconstructing Osama and Trepat stake out between 1984 and 2014 an artistic inquiry rightly known as the problematization of the "regimes of truth" in photography. But on this occasion the criterion of selection put forward by curator Sema D'Acosta adds an original perspective: the contrast in Fontcuberta's work between the distribution in space (exhibitions, installations) and the layout on the page (photo books, signature books). In other words, we are here being presented with a pedagogical balancing of equations, the variables of which are the contents, the media used and the audiences.