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Lynne Cooke, curator of the exhibition, presents the work of this singular, self-taught artist who was born completely deaf in Idaho. The exhibition offers a panoramic vision of the work of James Castle, an artist who invented his own way of showing and telling. Because of his deafness, he never learned to speak but he developed an imaginary all his own, nowadays described in terms such as primitive, marginal or visionary, in an attempt to unravel the complexity of his production.

Teresa Velázquez, curator of the exhibition, presents the work of the Brazilian Lygia Pape, an artist closely linked to the Neo-Concrete movement, which appeared as part of the strong current of renovation and modernism that swept Brazil in the 1950s. This exhibition shows the multidisciplinary nature of the artist's work, in terms of both themes and formats, which range from film to performance art and from painting to books, among others.

In this retrospective, Frances Morris, head of international collections at Tate Modern and curator of the exhibition, presents the work of the Japanese artist Yayoi Kusama, an essential figure in contemporary, post-war art. The exhibition allows visitors to get to know her multiple facets, from her contacts with Pop art, to her art installations and interventions in public spaces.

What is the role of video in relation to the art institution? What paths and currents has video followed between its arrival and the current situation in Spain? This video comments on the program Video era. Setting and potential (80-00), held at the end of May 2011, which seeks to answer such questions, with a combined format of debate and screenings on four different dates.

Jon Bird, curator of the Leon Golub exhibition, explores the contemporary relevance of the artist's painting from various perspectives. First of all, how it brings historical painting up to date; secondly, how it conceives of the body; and thirdly, what the role of the viewer is.

In this interview Jorge Ribalta, the curator of the exhibition A hard, merciless light. The worker-photography movement, 1926-1939, proposes a journey through the documentary practices of the worker movements of the interwar period, emphasizing the appearance of a new notion of photographic modernism, one linked to social movements and the document

José Gutiérrez Solana painted La tertulia del café de Pombo in 1920, at the request of his friend Ramón Gómez de la Serna, a writer linked to the avant-garde movement in Spain. The painting captures a singular moment in Spanish intellectual life during the 1920s, between the dark connotations of España Negra and the renewal brought by the Generation of '98. A recent conservation analysis has revealed previously unknown details about the painting, leading to new interpretations.

Structured around various core ideas, this interview with the author of the book Modernismo después de la postmodernidad (2011) shows the dilemmas arising between a revision of the melancholic and contemplative past, returned in the form of the architectural memorial, and a critical reading from the museum, in which history and memory are confronted. Huyssen discusses the foundations of a new modernism, which has future prospects and projects but lacks a geographical centre and power hierarchies.

Roberto Jacoby is an artist who, through his multiple abandonments of art, nourishes the artistic practice of possibility, moments of tension and new agents. His work begins in the realm of Instituto Di Tella and, in a series of radical episodes, becomes Tucumán Arde (1968). Far from ending there, his subsequent career has dealt with networks, memory and its activations (or obliterations) in the archive.

Económicos, the exhibition by the artist Efrén Álvarez (Barcelona, 1980), outlines a global vision of today's economy as a discipline that caricaturizes itself. Forty drawings and texts by different authors show relationship systems in which the apparent pedagogical intention of the exhibition entails, in practice, looking at what is unproductive, decayed and alienated through work and consumption

The novelist Ricardo Piglia talks about the work of the Argentine artist Roberto Jacoby, in connection with the exhibition Roberto Jacoby, Desire rises from Collapse (Museo Reina Sofía, 25 February to 30 May, 2011). Jacoby's work, explains Piglia, contributes to the formation of two of today's key ideas: the creation of networks, through what Jacoby calls technologies of friendship, and the notion of immateriality as a fundamental aspect of contemporary society.

In much of the work by Asier Mendizabal (Ordizia, 1973) history ceases to be a practice linked to the past and instead reveals the cracks through which it becomes an activity intimately connected to the present. In this interview he comments on some of his work, hermetic and complex, where the resource of narration becomes something that updates both history and its visual forms. The ideas of monument, public sculpture and photomontage are modern archetypes that Mendizabal uses as a possibility of that which is collective.

Re-opening the Palacio de Velázquez after more than five years, the Museo Reina Sofía's new exhibition venue presents the first comprehensive retrospective of the work of Antoni Miralda (Barcelona, 1942). Over more than four decades of production, the Catalan artist's work has been characterized by a continuous and ironic demystification of the art object, joined by an anthropological analysis of the systems of consumption and ritual and ethnological presentation of the codes that articulate contemporaneity.

Presentation last 18 February 2010 of The Tattooed Skeleton, title of the performance with which the U.S.-born artist Suzanne Lacy takes on, in collaboration with Museo Reina Sofía, the topic of domestic violence against women, on the occasion of the International Day for the Elimination of Violence against Women, 24th and 25th November 2010. Also involved in the presentation are María José Martín Bernabé, from the Government Delegation against Gender-based Violence; Ana María Pérez del Campo, from the Federation of Separated and Divorced Women; Covadonga Naredo and Esther Cerro, from the Federation of Progressive Women; and Sara Vicente, from the Commission for Research on the Abuse of Women.

Presentation of The Potosí Principle by the curatorial team, Alice Creischer, Max Hinderer and Andreas Siekmann. The Potosí Principle is a research, publication and debate project organized by Museo Reina Sofía (Madrid, May 12th - September 6th, 2010), Haus der Kulturen der Welt (Berlin, October 7th, 2010 - January 3rd, 2011), and Museo Nacional de Arte and Museo Nacional de Etnografía y Folclore (La Paz, February-May 2011). The Potosí Principle questions modernity by narrating it from the vantage point of the other, introducing the process of European emancipation as a cycle of global domination and exploitation which, having started in the 16th Century, is still ongoing.

An itinerary with Lissette Lagnado and Maria Berrios through the exhibition Drifts and Derivations. Experiences, Journeys, and Morphologies (Museo Reina Sofía, May 5 - August 23). Through a series of topics, this conversation poses a specific kind of Modernity, which is neither alternate nor central, but which shows the possibilities of playful and poetic transformation of society and cases of collective pedagogy in architectonic episodes in Latin America in the secord third of the 20th Century.

In relation to Thomas Schütte. Hindsight, this video presents a tour around the exhibition through a dialogue with the German artist, along with Julian Heynen, art historian and director of Kunstsammlung of Nordrhein-Westfalen, and Lynne Cooke, curator of the exhibition and deputy director of Museo Reina Sofía.

For most of its existence, the museum has done the exact opposite. Far from recognising the tension between the inscrutability of meaning and the opening to another language in the modern art work, the museum has watered it down to a contemplation that has become an auratic ritual frozen in a distant past. Dos lecturas sobre la colección (Two readings on the collection), along with La Colección Reescrita (Rewriting The Collection) represents an attempt to reintroduce the staging of diverse timeframes and heterogeneous periods involving the historical narrative and its own materiality within the museum. In so far as it is an institution that orders objects, artefacts, documents and the relationships between these things and the public in a series of narrations, the museum must consider not only which stories it is to tell, but also what devices to employ for their narration.

Itinerary of the exhibition Martín Ramírez: Reframing Confinement, held in Museo Reina Sofía from March 31 to July 12, 2010. Through a selection of works by Mexican artist, the exhibition examines the limits of the art system and the presence of the other in the space of an art institution. Martín Ramírez (1895-1963) produced his work in a confinement of more than three decades in a mental hospital, making his own painting materials and exploring a unique iconography that refers to the estrangement between two worlds, the origin of rural and indigenous Mexico and destination, a United States in the midst of a full-blown industrial development. The question posed by the exhibition is the lack of a non-reductionist vocabulary for understanding artistic categories beyond those undertaken by history of art.

Tacita Dean: The Friar's Doodle (Museo Reina Sofia, Monastery of Silos March 23-June 27) is a site-specific exhibition reviewing the history of the Monastery of Santo Domingo de Silos beyond its monumentality, classifying the traces of everyday life in the scribbles and graffiti of the columns of the cloister. In this inventory, the British artist shows a varied set of uses of space, such as as a witness to the work of the stonemasons, the rudimentary medieval games or the use the monastery as a shelter, building a fragmented and collective cultural history and relating film and photography with the evocations of minor narratives.

The Season of Celebrarions/ La saison des fêtes is a site-specific installation by Pierre Huyghe at the Palacio de Cristal del Retiro (March 17 to May 31, 2010) where, from a set of plant species in different seasons planted in a circle, the artist reviews the relationship between nature and tradition, myth, and celebration, recalling how events and the perception of time are determined by fiction and storytelling. In this video, Huyghe explains this site-specific project in relation to a series of constant lines of work which question time as phenomenology and reenactment as a mechanism for representation.

This video introduces an overall vision of Museo Reina Sofía, conceived as an expanded museum with different venues (Sabatini Building, Nouvel Building, Palacio de Cristal and Palacio de Velázquez), and different experiences and audiences. Along with this concept of site, the collection, exhibitions and public activities are shown as a new way of interacting with the program and function of the Museum.

In this interview, Georges Didi-Huberman, the curator of the exhibition ATLAS. How to carry the world on one's back? contemplates the model of the atlas as a mechanism by which to reshape the sensory order of the world and the relationships that are established in the creation of knowledge. Taking the work of Aby Warburg as a point of departure, artistic production is contemplated as a montage, in which things, places and time can be reconfigured.

The work of José Val del Omar (Granada, 1904-Madrid, 1982) goes beyond the usual limits of cinema and technique. The artist developed a particular relationship with poetry, mysticism, experience and moving images throughout his entire career. In contrast with cinema as a spectacle that is merely for contemplation, Val del Omar theorizes on and puts into practice an expanded and physical cinema, which can be summarized in concepts such as apanoramic overflow and diaphonic sound. A video of a conversation with Eugeni Bonet, curator of the exhibition, and Javier Ortiz-Echagüe, assistant curator of the exhibition, at Museo Reina Sofía.

The work of Hans-Peter Feldmann (Düsseldorf, 1941) focuses several decades of careful classification and reordering of the sensible world through the image. With systematic thoroughness, Feldmann classified traces of the society through trivial and banal images and objects, recovering the subjective and narrative power of the image in the viewer. The curator, Helena Tatay, introduces the exhibition, held at the Museo Reina Sofia (September 22, 2010 to February 28, 2011).

Interview produced during "For Those Of Us Who Enjoy Working". Workshops on precariousness and self-organization in "creative" work, organized by Traficantes de Sueños, YProductions, Casa Invisible, Universidad Nómada and Museo Reina Sofía. María PTQK is a cultural producer, independent researcher, a consultant at the Universitat Oberta de Catalunya, and coordinator of projects with the collective Amasté.