Frieda Toranzo Jaeger’s work (1989, Mexico City, Mexico) is a conceptual weapon for dystopic futures, a chaotic ode to the decolonizing power of the imagination. The generative power of her paintings points to the existence of a knowledge like no other: that of an internal world made of immediacy and intimacy capable of affecting us deeply and directly. Toranzo Jaeger’s practice shows us how desire insidiously permeates our lives, how it simultaneously runs and ruins them. Her paintings are the closest to a utopian call for an aesthetic of rebellion. With images of cars’ interiors, their veneers, lamination, their engines, as well as with structural references to altars and sacred art, the artist conspires to create a vandalized semiotic capable of dismantling the accepted lexicon of neocapitalist consumption.