Sequences. The Image-Montage is the first institutional exhibition of Colombian artist Sair García. It presents a corpus of works never exhibited before alongside a new body of works specially produced for this occasion that deal with the concept of the "image-montage" and its longstanding relationship between cinema and visual art.

The exhibition's title is borrowed from the theory of the "image-montage" as described by Georges Didi-Huberman in The Eye of History: When Images Take Positions (2018). In this book, the French philosopher states that montage is never neutral, but rather a critical method that allows one to "take a position" towards the real by modifying and rearranging "the respective positions of things, discourses, and images."

This concept becomes the standing point of García´s visual essay, which draws from the iconic imagery of Greek filmmaker Theodoros Angelopoulos (1936-2012) and specifically a visual analysis on Trilogy: The Weeping Meadow (2004). Sair García synthesizes the fleeting temporality of Angelopoulos' cinema into the density of painting and its relationship with digital and mechanical animations.