Casa de América takes on the documentary format in order to record the opinions and the creative process of the group of students who received the grant for visual arts from Casa de América in 2002, of which Larrea was part. The artist conceived this video for the end of the year exhibition as a news story about the preparation of the exhibition, for which she interviews her colleagues and also herself.

In addition to acting as an exceptional testimony of the moment and record each of the projects as they are talked about by their makers, the piece also presents a small scale portrait of the contemporary art world, populated by artists, curators and agents. The video manages to expose perfectly the social attributions and promotion strategies of each of the mentioned sectors.

Within the format of the classic news feature, artists, curators, critics and agents all give their opinions. In an ironic gesture, the author interviews herself, and talks about her project for the end of term exhibition, which is none other than this video itself. This generates an ironic loop whereby the piece is cited in the piece itself.

As well as having an enormous value as an analysis of contemporary creative processes, the piece constitutes a unique historical testimony of its time. It documents the opinions of Spanish and Latinamerican artists who today enjoy a respectable reputation, such as Cristina Lucas, Martín Sastre, Alexander Apóstol or Jonathan Hernández among others; and the comments of critics such as Eva Grinstein or Isa Benítez, and of the group director, Rafael Doctor, who understands the exhibition as the sum of creative energies.

The work developed by Larrea during the last few years is located in a field of thought about art practice itself and about its influence in the life of the individual. Larrea’s work tends to fall within open disciplines, very far from object-orientated art practices. She offers a transverse look at the act of creation, focusing on the relationship art-life. Some of her favoured practices are performance, happening, video and installation. These are practices of ephemeral art, with which she formulates fields of reflection that come into dialogue with each other. Instead of using preformulated techniques or disciplines, Larrea looks for the adequate form for each of her projects to take. This enriches her work and makes it difficult to categorise it in a superficial manner