The exhibition of paintings that Marcela Pittner will inaugurate on Wednesday May 26 at the Metropolitan Museum summarizes her searches for personal identity combined with her reflections on recent Argentine history.

Marcela Pittner’s paintings make us look upwards, towards the domes of Buenos Aires, with their
cherubs and weather-vanes; their crosses and their belfries. Day skies and nights skies show out in
them, too. Hers is not the usual way of looking at things: we are trapped in the troublesome density of the city and plunged into its labyrinths of flatness.

It was one of those days, it was about to snow. That electricity, which you could almost listen to, was felt in the air, do you recognize it? And that plastic bag was…dancing with me. It was like a child begging me to play with him. It lasted fifteen minutes.

For a painter, as for a musician and all those who possess the possibility of artistic creation, the important thing is not the subject, but knowing what to do with it.
It is evident that Marcela Pittner has found in her spiritual roots the metaphysical material with which she elaborates her works.

Different degrees of perfection offers the present picture, and in its various elements, in a total synthesis and extremely fortunate. There are three planes in which I could divide it for its examination and its subsequent analysis, and from all of them the composition emerges, so many are the virtues that it brings together.

Marcela Patner's striking picture portrays a biq city with tall buildings depicted as flawless small geometric shapes that seen at a distante conceal countless stories.