Deeply influenced by issues related to social and political history, Eugenio Merino equally questions the recent evolution of capitalist economy towards a highly sophisticated imperialist system that has acquired the power to swallow everything, as he says, including the art world, the cultural industry and the general field of knowledge.

The installation, - El Fin de la Historia,
features thirty wooden boxes with screen-printed glasses in the front. Each unit, with its glass serigraphy of golden letters surrounded by a geometrical area in dark red, corresponds to one of the thirty volumes of the Encyclopaedia and contains its respective shredded volume.

The act of stripping, framing and displaying the emblematic corpus of books into pieces is simultaneously provocative and loaded with meanings. The installation triggers a profound reflection on complex issues such as the brutal and express destruction of centuries of rigorous historical and scientific knowledge and the instant wipeout of whole chapters of human history and wisdom. A contemporary phenomena which inexorably increases oblivion and ignorance of the past. Indeed, the physical reduction of an entire Encyclopedia into small piles of framed ashes-like remains, resulting in a striking association of the units with funeral urns, explicitly brings in the idea of a - tabula rasa
of the classical humanistic culture. Therefore, it indirectly evokes the takeover by the digital world with the widespread of superficial, doubtful and ideologically oriented contents of unknown sources. Thus, despite the false appearance of quiet simplicity and lightness with its lively echo of American Pop Art, Merino's installation conceals a reality that is both violent and dramatic.