Miguel Branco's practice is post-modern in its principles of displacement and strangeness, as well as in its mechanisms for appropriating different references. In a work path that seldom abandons figuration, be it animal, human, or fantastic, Branco's oeuvre is a kind of constant (re)construction of the most diverse representations of history, nature, and human culture.

In this untitled piece, Branco presents us with an austere and elegant large display case, in wood and glass, containing two gold-plated bronze bowls equidistant and, at first sight, similar in every way. Despite their contemporary appearance, the bowls are arranged as if they were archaeological or ritualistic pieces, with the display case creating the illusion of a museum apparatus, a space that preserves and enshrines art. There is thus a tension between the piece as a work of art and therefore object of museological importance, and the piece as an instrument that reflects on the contextualising and legitimising action of the museum as an institution. At a closer look we note that one of the bowls is fully polished, and therefore fully reflective, while the other is only polished on the outside, with a duller golden interior, so instead of reflecting, the concavity of this bowl partially absorbs the light and distorts the images.

As is often the case with Branco's work - which is the subtle result of a meticulous and careful study of the history of art - this piece was designed so that it can be seen and thought about from different perspectives, articulating different spaces and times (those of museums and art galleries and those of the works of art and the history of art), speaking simultaneously of the present and the past, of itself and its framework.