Building on her previous work, Bravo's newest works reference recognizable European painting
compositions, while subverting them to address contemporary themes. Vargas Bravo’s mise-en-
scène plays a crucial role, not only as a compositional strategy but also as a way to signal that the viewer is experiencing a constructed scene, a space where tension can unfold safely and intentionally.

The galvanized fencing found in La reja (caída)/ The fallen fence, is a commonplace material in the United States. Here it becomes the protagonist of a mythological scene. Aspiring to function simultaneously as a historical painting and a contemporary allegory, this painting is reminiscent of Géricault’s Le Radeau de la Méduse. In a country where private property is often fenced off, where the same type of fence can be seen imprisoning innocent people, the artist imagines, finally, its
collapse.