In this most recent stage, the theoretical framework of the senses has been consolidated, understanding them as a dynamic, situated, and culturally encoded ecosystem in which every perceptual experience is mediated by the body, shaped by culture, and rooted in a specific geographic context. This approach acknowledges that the senses are not a fixed list, but rather a relational network that constructs meaning, memory, and affective bonds, enabling a more complex and embodied approach to curatorial work.

Alongside this, a solid theoretical framework has been established in relation to curatorial practice and its diverse non-traditional approaches, conceiving curating as an open and mutable exercise, capable of operating across multiple formats and spaces—whether institutional or independent, physical or digital, static or in motion—and engaging with methodologies from other disciplines. The proposal for this sensorial curatorial practice is thus situated and formally applied, beginning from the sensorial imaginary of the artwork and its context of origin, and translating it into an exhibitionary experience that considers space, atmosphere, and environment as interdependent dimensions. Rather than a rigid method, it is conceived as a flexible toolbox that adapts to the temporality, geography, and community of each project, building bridges between different cultures and worldviews, and amplifying the affective dimension of the artistic experience.This approach broadens the possibilities for public engagement, fosters immersive experiences that go beyond the visual, and weaves together art, space, and sensoriality into a coherent, critical, and living whole, responsive to the transformations of the world and sustaining an active dialogue between the sensible and the conceptual.

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