Tomás Saraceno presents a new series of works emerging from the process of evaporation and crystallization, reflecting on the delicate surface of the Salinas Grandes, a vast salt flat stretching across the high plains of northern Argentina. Their title, Sal de Acá, plays on the double meaning of sal de acá (“salt from here”) and ¡sal de acá! (“get out of here!)—at once an acknowledgment of place and a call of resistance.

The artworks stand as imprints of an ecosystem under threat, where lithium extraction transforms landscapes into sacrifice zones in the name of the so-called green transition. Sal de Acá carries the textures, minerals, and residues of the salar, bearing witness to the ecological and cultural tensions inscribed in its crystalline surface, amplifying the voices of those who say: the salt, the water and lithium are from here… and must remain here too.

Sal de Acá extends Saraceno’s long-standing engagement with the air, the earth, and the politics of extraction. The series invites reflection on the contradictions of sustainability—where the materials that power our batteries and technologies are drawn from territories whose own energy and autonomy are being drained.