"Apoteosis Now" presents Cristina de Middel’s photographs as a torrent of images that floods the museum. The works are charged with facts, intuitions, myths, uncertainties, mutations, visions, totems, and occasional taboos. Conceived in a “cataract” mode, a term the artist uses both for the overwhelming cascade of images that defines the present and for the eye condition that prevents clear sight, the exhibition treats each series as a small study in iconography, a visual novel, and a seismograph of the manipulation of reality. Each work can also be read as an archive of dreams or as a record of the obstacles that keep them from being fulfilled. Set in a world after the end of posthistory, the exhibition arrives three decades after the age of the yawn predicted by Francis Fukuyama failed to materialize. Beneath its apparently chaotic surface, it reveals an underlying order: in meaning, in the intention behind its approach to photography, in its use of color, and in its impact on those who encounter it. If apocalypse leads inevitably to the abyss, apotheosis suggests ways of avoiding it in this era governed by iconocracy. Cristina de Middel warns that the flood of images offered to us can be as dangerous as the images taken from us. From that premise, the exhibition argues that images can be used not only to dominate, but also to provide tools for liberation, for both viewers and their gaze.