Part of the European touring survey of Hyperrealism, this was the first exhibition in Spain to trace Hyperrealism’s development from its beginnings to the present. When the movement made its appearance in the United States in the late 1960s, Louis K. Meisel dubbed it “Photorealism”, describing Photorealists as artists who used the camera unreservedly as an aid to painting and transferred their images to canvas by mechanical, semi-mechanical or technical methods in such detail that the high resolution gave their paintings the illusion of being photographs. The new movement inherited from Pop Art a fetishistic passion for shop windows, gleaming cars and motorbikes, diners, Art Deco architecture, kitsch iconography and a fascination for painting not objects but stereotype images of objects.